CIHM 
Microfiche 
Series 
(Monographs) 


ICMH 

Collection  de 
microfiches 
(monographies) 


Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  de  microreproductions  historiques 


0 

D 


D 


nr 


n 


10x 


Technical  and  Bibliographic  Notes  /  Notes  techniques  et  bibliographiques 


The  Institute  has  attempted  to  obtain  the  best  original 
copy  available  for  filming.  Features  of  this  copy  which 
may  be  bibliographically  unique,  which  may  alter  any  of 
the  images  in  the  reproduction,  or  which  may 
significantly  change  the  usual  method  of  filming  are 
checked  below. 


0 


Coloured  covers  / 
Couverture  de  couleur 


I      1   Covers  damaged  / 


Couverture  endommag^e 

Covers  restored  and/or  laminated  / 
Couverture  restaur^e  et/ou  pellicul^e 


D 

I         Cover  title  missing  /  Le  titre  de  couverture  manque 
I Coloured  maps  /  Carles  g^ographiques  en  couleur 

a 


Coloured  ink  (i.e.  other  than  blue  or  black)  / 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 


I      I   Coloured  plates  and/or  illustrations  / 


n 


n 


Planches  et/ou  illustrations  en  couleur 

Bound  with  other  material  / 
Reli6  avec  d'autres  documents 

C-y\y  edition  available  / 
S   jle  Edition  disponible 

Tight  binding  may  cause  shadows  or  distortion  along 
interior  margin  /  La  reliure  serr6e  peut  causer  de 
I'ombre  ou  de  la  distorsion  le  long  de  la  marge 
int6rieure. 

Blank  leaves  added  during  restorations  may  appear 
within  the  text.  Whenever  possible,  these  have  been 
omitted  from  filming  /  Use  peut  que  certaines  pages 
blanches  ajout6es  lors  d'une  restauration 
apparaissent  dans  le  texte,  mais,  lorsque  cela  etait 
possible,  ces  pages  n'ont  pas  6t6  filmees. 


L'Institut  a  microfilm^  le  meilleur  exemplaire  qu'il  lui  a 
6\6  possible  de  se  procurer.  Les  details  de  cet  exem- 
plaire qui  son!  peut-6tre  uniques  du  point  de  vue  bibli- 
ographique,  qui  peuvent  modifier  une  image  reproduite. 
ou  qui  peuvent  exiger  une  modification  dans  la  m^tho- 
de  normale  de  filmage  sont  indiquds  ci-dessous. 

Coloured  pages  /  Pages  de  couleur 

I   Pages  damaged  /  Pages  endommag^es 


D 


D 
C 
D 


D 


Pages  restored  and/or  laminated  / 
Pages  restaur^es  et/ou  pellicul^es 


ry]   Pages  discoloured,  stained  or  foxed  / 


Pages  d^color^es,  tachet^es  ou  piqu^es 

Pages  detached  /  Pages  d^tach^es 

Showthrough  /  Transparence 

Quality  of  print  varies  / 
Quality  in^gale  de  I'impression 

'rf'    '?5  supplementary  material  / 
:c      :  nd  du  materiel  suppl^mentaire 

'  es  w'vjily  or  partially  obscured  by  errata  slips, 
ii  -^u  -,  e  ic,  have  been  refilmed  to  ensure  the  best 
pc  iijie  image  /  Les  pages  totalement  ou 
partiellement  obscurcies  par  un  feuillet  d'errata,  une 
pelure,  etc.,  ont  m  filmees  k  nouveau  de  fa^on  k 
obtenir  la  meilleure  image  possible. 

Opposing  pages  with  varying  colouration  or 
discolourations  are  filmed  twice  to  ensure  the  best 
possible  image  /  Les  pages  s'opposant  ayant  des 
colorations  variables  ou  des  decolorations  sont 
filmees  deux  fois  afin  d'obtenir  la  meilleure  image 
possible. 


Additional  comments  / 
Commentaires  supplementaires: 


Irregular  pagination:   [l]-viii,  1-262,   [l]-23,  25,  2*,  26-27,  29-28, 
30-31,  33,  32,  34-55,   [3]  p. 


This  item  is  filmed  at  the  reduction  ratio  checlted  below  / 

Ce  documerit  est  U\n\6  au  taux  de  reduction  indique  ci-dessous. 


10x 

14x 

18x 

22x 

26x 

30x 

V 

12x 


16x 


20x 


24x 


28x 


32x 


Th«  copy  filmed  hcra  has  b««n  raproducad  thanks 
to  tha  ganarosity  of: 

National  Library  of  Canada 


!.'axamplajra  film*  fut  raproduit  grica  A  la 
g*n«rosit*  da: 

Bibliotheque  nationale  du  Canada 


Tha  imagas  appaaring  hara  ara  tha  bast  quality 
pcasibia  considaring  tha  condition  and  lagibility 
of  tha  original  copy  and  in  kaaping  with  tha 
filming  contract  spacificationa. 


Original  copios  in  printod  papar  covars  ara  filmad 
beginning  with  tha  front  eovar  and  anding  on 
tha  last  paga  with  a  printad  or  illustratad  impraa- 
sion,  or  tha  back  covar  whan  appropriate.  All 
othar  original  copies  ara  filmed  beginning  on  the 
first  paga  with  a  printed  or  illustratad  impres- 
sion, and  anding  on  the  last  page  with  a  printed 
or  illuatratad  impression. 


The  last  recorded  frame  on  each  microfiche 
shell  contain  the  symbol  -^^  (meaning  "CON- 
TINUED"), or  the  symbol  V  Imeening  "END"), 
whichever  applies. 


Les  images  suivantas  ont  *t*  reproduites  avac  le 
plus  grand  soin.  compta  tanu  de  la  condition  at 
da  la  nenet*  de  I'exemplaire  film*,  et  an 
conformity  avac  lea  conditions  du  contrat  da 
filmage. 

Les  exempleires  originaux  dont  la  couvartura  •n 
papier  est  ImprimAe  sont  film^s  en  commencant 
par  le  premier  plat  at  an  terminant  soit  par  la 
derniire  page  qui  comporte  une  empreinta 
d'impression  ou  d'illustration,  soit  par  le  second 
plat,  salon  la  cas.  Tous  les  autres  exemplaires 
originaux  sont  filmAs  an  commenpant  par  la 
premiere  page  qui  comporte  une  emprainte 
d'impression  ou  d'illustration  et  en  terminant  par 
la  derniAre  paga  qui  comporte  une  telle 
empreinte. 

Un  des  symboles  suivants  spparaitra  sur  la 
darnlAre  image  de  cheque  microfiche,  salon  le 
cas:  le  symbols  «■»■  signifie  "A  SUIVRE".  le 
symbols  V  signifie  "FIN". 


Mapa.  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diegrams  illustrate  the 
method: 


Les  cartas,  planches,  tableaux,  etc..  peuvant  etre 
filmAs  A  des  taux  de  reduction  diff Grants. 
Lorsque  le  document  est  trop  grand  pour  etre 
raproduit  en  un  seul  clich*.  il  est  film*  A  partir 
de  Tangle  supirieur  gauche,  de  gauche  *  droite, 
et  de  haut  en  bas,  an  prenant  le  nombre 
d'imeges  nAcessaire.  Las  diagrammes  suivants 
illustrent  le  mAthode. 


1  2  3 


1  2  3 

4  5  6 


MICROCOPY    RESOLUTION   TEST   CHART 

(ANSI  and  ISO  TEST  CHART  No    2) 


1.0 


2,8 


1.4 


2.5 
2.2 

2.0 

i.8 


1.6 


^  APPLIED  IM^GE    I 

2^^  1653    East    Mam    Street 

S"^  Rochester,    New    York         14609        U5A 

'-SS  (716)    482  -  0300  -  Phone 

^S  (716)    288  -  5989  -  Fa. 


^kr^ 


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'~""^?y'irT~*vy^~ 


Builders' 
Architectural  Drawing 

SELF-TAUGHT 


C'UMAIMINf;  DF-CHU'TliiNS  lir  l>KAMIN(;  I  N>TKI'MIIN1  s  AMI 
i  AHIISMIHIK-.,  Vlllll  Ml  I  Ks  POM  I  SINI,  THRM,  A  N  II  HIN  rS  A^  TO 
TMKIH  CARP  AHIIMANAI.KMKNI.  K  I  1  KS  KIR  LAVINi.i.ir  ^tlMI■LK 
KRAWINI.S  ANU  KXEl  I  1  I M,  SAMK  AHK  I.IV(N,ANII  IH»  MCIIIINI  I-, 
lAICHr  NTKH  BV  SIHK.  IINAW  111  NCAIIi,  P  IN>,  r  IMK  PIAN^,  NEXI 
HIP.  KI.R\  ATKIMS,  A>l>  PINAI  LV  IMK  UK  TAILS  l.P  llt'lLIIINI.H,  INILI  U- 
IN(,  PiUNIIAlKlNS,  WAI  I  -.,  IliinKS,  MINIM  <W-,,  SI  AIM-..  ANII  ALL  "THRM 
IrpMS  HPI^iriREIl  PllR   PINtSHINI.   II    (IIMI'LPIP  IN  KVI.RV    PARIItl  I  AR. 


By  FRED  T.   HODGSON 

.iuthor  of  "Practical  Uses  of  the  Slctl  Square,"  "Modern  <\tr- 

fmtry,"  Common  Sense  Stair  Huiltling  anU 

Hanctrailing. "  i-tc. 


ILL  VST  RAT  ED 


CHICAGO 
FREDERICK  J.   DRAKE  &  CO..  PUBI-l 

1904 


•RS 


_l 


HI 


! 

COPVHIGHT.   igoj 

1 
1  "^ 

IKhUbHICK  J,  UHAKt:  A  Ol. 

1 

CHICACfO,  ILL.,  U.S.A. 

1997 


PRKI'ACE 

HavihB  been  moi..  or  le»,  interested  in  Archi- 
tecture .- ,      .He  building  trades  for  nearly  a  half 
a  centu,,      have  in  that  time  l,ecome  acquainted 
wuh  a  great  many  workmen,  who,  while  filling  a 
subordmate  position,  possessed  aspirations  and 
ambifons,  which,  had  they  had  a  fair  knowledge 
of  draw,ng  and  geometry,  would  have  lifted  them 
to  the  hightest  place  in  the  department  in  which 
they  labored.    To  give  similar  good   fellows  a 
chance  to  obtain   the  necessary  knowledge  to 
enable  them  to  apply  f  ,  ,he  better  positions 
w  h  a  certamty  of  their  being  able  to  fill  them 
w.th  cred,t  ,s  the  motive  which  has  prompted 
the  comp,lat,on  of  this  book,  and,  knowing  the 
quality    and    magnitude    of    their    wants,    by 
personal  contact  with  the  workmen  in  the  shop 
and  on  the  building,  I  think  I  am  qualified,  to  !, 
large  extent,  to  cull  from  th.  vast  treasure  hous, 
of  mdustnal  and  technical  literature,  which  added 
to  my  own  experience,  to  present  to  the  work- 
man m  the  simplest  for  a  possible  the  ma'erial 
he  requires  to  help  him  Jong  i„  the  struggle  for 

III 


IV 


PREFACE 


better  conditions.  To  attempt  to  write  a  book 
on  the  subject  of  architectural  drawing  and  claim 
for  it  originality,  is  simply  out  of  the  question; 
for  very  little  that  is  original  can  be  said,  indeed 
very  little  is  wanted  to  be  said,  for  the  literature 
now  obtainable  seems  to  cover  every  point  and 
every  phase  of  the  subject. 

It  may  be  asked  then:  "Why  make  another 
book  on  the  subject?"  This  seems  a  just  and 
reasonable  query,  and  one  that  deserves  a  well 
considered  answer,  and  I  will,  to  the  best  of  my 
ability,  endeavor  to  make  such  answer.  First, 
then,  while  admitting  that  all  that  need  be  said 
on  the  subject  has  been  said,  and  better  said  than 
I  can  say  it,  yet,  it  is  so  scattered  and  broken  up, 
a  bit  here,  and  a  bit  there,  that  the  student  for 
whom  this  work  is  prepared  would  require  to 
own  a  gold  mine  to  be  able  to  purchase  all  the 
works  containing  just  what  he  requires;  secondly, 
as  this  work  is  specially  designed  for  active 
workmen  who  have  no  time  to  wade  through 
ponderous  tomes  to  find  what  may  be  a  simple 
matter  after  all,  they  would  probably  be  forced 
to  forego  the  knowledge  if  it  could  not  be 
obtained  in  a  cheap  and  handy  form,  therefore, 
it  is  thought  that  by  gathering  together,  and 
putting  within  reach  of  those  who  want  them,  a 


.,r^'f\li'mz 


'iPB!£uai^E^M| 


PREFACE  y 

series  of  instructions   containing  what   is  con- 
sidered the  most  suitable  to  satisfy  the  require- 
ments I  have  undertaken  to  fill,  and  which  I 
hope  will  prove  satisfactory  to  the  young  work- 
man.    Doubtless  there  are  many  things  in  this 
little  work  that,  in  the  opinion  of  many  persons, 
might  be  dispensed  with;  it  maybe,  and  likely  is, 
that  there  are  many  good  things  omitted,  many 
things  that  would  have  proved  extremely  useful, 
but  in  palliation  I  can  justly  say.  that  everything 
I   have   found   en   the  subject,  that  was  plain, 
simple  and  within  the  capacity  of  most  of  the 
persons  this  book  will  reach,  and  that  were  not 
too  extensive,  I  have  made  use  of.  and  to  the 
best  of  my  ability  have  placed  them  before  my 
readers  in  such  language  as  I  am  sure  will  meet 
with  their  approval. 

Collingwood,  Ont,.  Jan..  1904. 


".o's^riv 


•M^feisaw 


s?'^M&Jii^o^M^':jii'"if---  ^■Ji^^m^'-'^^SBSi^WKm^ssm^ 


INDEX 

A 

,    .  Page 

.\<1  vice  to  draftsmen 13 

Advice  to  Young  Men 13 

Advantage  of  knowing  liow 14 

A  box  of  instruments 35 

A  nierican  instruments  39 

Attic  plan  for  brick  cottage Ill 

Ashler  work 118 

Arch  over  window 12(5 

A  rampart  arch 131 

A  straight  arcli 131 

Arches  of  various  kinds 146 

Arabesque  fretwork 173 

Anthemion  185 

A  wrought  iron  design 213 

A  circular  ornamental  design 215 

Arrangement  of  flutes  and  tillets 223 

Arrangement  of  Doric  order 228 

Advice  to  student 241 

Alphabets : 246 

A  method  of  hatching  showing  materials .-  258 

A  parting  word 262 

B 

Beam  compasses  31 

Brown's  ellipsograph 34 

I>ow  pens  and  pencils 43 

Boxwood  scales 46 

Brick  cottage  plans 108 

Brick  foundations 1 14 

Blocked  coursed  work 118 

Bond  in  brickwork 1 10 

Brick  courses    130 

Brickwork  generally , , ,]   121 

Bonding  in  9-inch  walls 122 

Bed  of  arch 130 

Brick  and  stone  arches 145 

Box  frame  weights \\   162 

Balusters \  /  1 75 

Barge  boards 179 

Border  mouldings , , .]   1 83 

Border,  Egyptian  style ,   186 

VII 


E^5sawi^»fi'^.\r'.^ir^"«5:5a 


VIII 


INDFX 


I 


Border,  Byzantine  style ^"ig" 

Byzantine  Rosette \sd 

Balustrades oqo 

^*'«°ny- "^^■■■■■■■^^^;::;::;;;:::  2o» 

lilock  letters 24^ 

Blue  prints 261 

C 

Cheap  drawing  boards i« 

Cartridge  paper on 

Cleaning  pen 50 

Circular  or:  aments «,, 

Circular  segments gi 

Curves  of  various  grades 63 

Circles  and  straight  lines  mixed 57 

Curved  mouldings gg 

Compass  drawn  scrolls '    '    y^ 

Cutting  lead  pencils 9'^ 

Cellar  plan  for  cottage kw 

Crown  of  arches jog 

Casings  for  door  and  window  finish j.^ 

Cornice  for  frame  building j-jg 

Cornice  for  brick  building iJd 

Curved  and  straight  lines i«2 

Complicated  fret  work [   170 

Chain  moulding 17'' 

Continuous  moulding 1^7 

Curved  line  ornaments ..............[.. 17s 

Cut  scroll  work 1^0 

Conventional  flower ]    hL, 

Conventional  lotus !«/. 

Cut  Gothic  border .'.'.'.'.".'.' urn 

Cincjuefoil  Gothic  ornament li.Q 

Curves  for  cut  work jgg 

Cut  work  for  barge  boards,  etc 199 

Carvers'  ornaments oqq 

Cut  work  for  balustrades o()o 

Columns o.g 

Columns,  fluted .'..'.".■.■ o-Z 

Columns  with  fillets got 

Columns  with  fillets  and  reeds '.>> 

Corinthian  order  of  architecture gjG 

Column  and  section,  Corinthian gW 

Colors  used  in  drawings 24!) 

Colors  representing  materials ........!.. . . .   , . . .  [  [  254 

D 

Drawing  boards.  How  to  make iy 

Drawing  b<jard  grooved iq 

Drawing  paper oq 


':.i:'mf?/fii^'^"^^:m^-hS!3^m^i^Bm^ 


INDEX 


1 


Damp-stretching 22 

Drawing  table , 04 

Drawing  pens ....'.'".'..'.'.'.'.".[     3H 

Drawing  lines 53 

Drawing  circles .■■■■..'......'.'....     54 

Drawing  concentric  curves 5.5 

Drawing  ec^ientric  curve.* ■..■■'........'......     55 

Drawing  circular  ornaments 57 

Drawing  variable  curved  ornaments '. tiS 

Doric  mouldings "  [' 73 

Describing  ellipses  by  aid  of  trammel  ....         .    . . . . ....  78 

Dotted  line  work . 88 

Dimension  lines 93 

Different  grades  of  |)encils 99 

Drawing  arches '/  ][ I37 

Doorway  entrance ........,....!. 151 

Diagonals  and  squares 164 

Drops  for  norches  and  verandas 203 

Drops  for  oalcony 209 

Drawings  for  iron  work 213 

Drawing  sections  of  fluted  columns 220 

Dividing  circumferences  of  columns ]      221 

Drawing  of  Tuscan  order ...........  226 

Doric  order  of  architecture 228 

Drawi.ig  the  Doric  order ...........!        228 

Design  of  Ionic  capital  and  entablature 234 

Designs  Tor  letters 044 

Descriptio.i  of  colors 250 

Defining  use  of  colors 253 

E 

Ellipsograph 33 

Ellipsograph  illustrated ....'.'...'..'.....'. 34 

English  drawing  instruments 39 

Elliptical  mouldings 76 

Elliptical  turves  by  string 77 

Elliptical  curve  by  trammel 7^^ 

Egg  shiped  figures,  How  to  draw  them '...'. h" 

Examples  in  line  work ' ' ' '     yjj 

Erasions  ... 9k 

End  e^vatir         .id  section  of  cottage  ..................  113 

English  bon(        brickwork  ...  124 

Elevation  of  brickwork ...........'.         12.j 

Extiados  of  arches 129 

Elliptical  arches  in  brickwork 134 

Elevation  of  doorway 25j 

Elevation  of  window  " "    '  ^33 

Elevation  01  inside  door  and  finish 155 

Eg^-ptian  ornament ' ^^q 

Elaborated  acroil .' ^^,^ 


*  INDEX 

Egg  and  dare ^\lf^ 

Echinus   ^^^ 

Egyptian  lotus  l)ord<'i' ■■■.......'...... lyjj 

Ela>K)rate  t ;    ctry 197 

Eave  Ijoards  . . . ." ..'....'....". 'iQ-r 

Kiliptical  wrouglif.  iron  scroll 213 

Etliptical  nrnaiiientation "    o|(j 

Entasis  of  columns 2'>r, 

Elevation  of  Tuscan  order 2''« 

Elevation  of  Doric  order 228 

Elevation  of  Conipub<  «  order 2;J0 


-Free-hand  drawing ,  < 

French  curves .,(i 

Flat  S(!ales so 

Figured  plans ..........".'.. jo-. 

Floor  plans  for  cot  tage 1  li) 

Front  elev-ttion  of  brick  cottage 1 1> 

Foumirttion  f(K)tings 114 

Fourteen  inch  brick  wall 12.-) 

Flat  arches  in  brickwork  '. . 141 

Finish  of  inside  d(K)r 1  ^r^ 

Fret  work ,. 1  - " 

Figured  ornaments ............'."' 175 

Finished  scroll  work i  -"j) 

Fence  Inwirds,  ornamental oj  j 

Fluting  columns " '    o.^ 

Flutes  and  fillets ....'. ogi 

Figures  for  drawings ........'.'..'. 24'i 

Flowing  of  colors ogy 


G 

Good  tools 

(ireek  mouldings . . . 

(rothic  brick  sirches 

viothic  arches  generally {'•r, 

(Jothic!  ogee  arches  . . . '. 1  'j^ 

(iothic  arches  of  various  kinds 14(5 

( >  utter  and  cornice 1 

Gutter  and  cornice  open i 

Gothic  perforated  work i 

Greek  fret  work ,  -, 

Greek  lily ■■'''■  ■'.'.'.'.'.'.'.'.'.'.'.'.'.'.[['.'.'. m 

Greek  anthemim .ufr 

Gothic  ornament  in  border ijij) 

Gothic  tracery 194 

Greek  Ionic [   o'j-j 


17 
m 


ir,9 
«i 

106 


r*4-.'>-2t',' 


J?0^'K-i-: 


INDEX  3 

J,  Paot; 

Hard  rubber  scales in 

yiundy  nietliod  of  drawing  soroIlN  ..'..'. 1-4 

1  itcUiuf^  lines C« 

tlow  to  hold  the  lead  jieru-il 1,5 

Herring  Ixjne  brickwork lojt 

Hov  to  descrilie  an  elliptical  arch  1 -L 

Horseshoe  arches joy 

Horseshoe  arches  of  several  stvles. .!.... iau 

Hexagon  oniaiiient ' 2^7 

Handling  brushes  in  coloring o^j 

Hatching,  showing  materials ■■■■■■..............  'Im 

I 

Introduction ^ . 

Instruments  in  Morocco  ca.se. in 

Instrunien!    in  wooden  box l^ 

Inserting  ink  in  pen    \{ 

Ink  bi  u^h \ Vo 

Inking  in ro 

Inking  lines ■■.........[...'..... "^ 

Intrados  of  arches ,'.J'q 

Inside  shutter  finish ,5., 

In.side  window  finish ] j-.j 

Inside  finish  of  sliding  doors ] 1  rjij 

Introduction  to  the  order  of  architecture o\s 

Ionic  mouldings 034 

J 

Joining  curves ..<. 

Joining  straight  lines  to  curved  lines!  ".'. «- 

Joints  in  masonry ,  ,A 

Joints  in  bric^kwork '.]'. \:d 

Joints  in  bonded  work jo, 

Joints  in  an-hes }.■;' 

Joints  shown  in  brick  arches 1  j/. 

Jamb  in  section ;2: 

Joint  of  sliding  dcors .■■■■.............. 15-' 

K 
Keystone  of  arch joq 

L 

Linework u- 

Linework  in  shade  and  shadow  '..'. ^2 

Laying  off  dimensions .,, 

Lead  jwncils  cut  to  shape g.i 

Lan(\et  arches 1 !!« 

Lintels  of  stone I,- 

140 


mmmm 


«  INDEX 

Layinj?  out  diagonalH f\^ 

Laying  out  hexaKon  work 167 

I^yitiK  out  turned  ornanientM ........'.'.'.'. 175 

Laying  out  scrolls ....'.."  178 

Lotus  ornamentations i8(j 

Ikying  out  tracery .............[['.[.'.       196 

Laying  out  cut  work 206 

Laying  out  flutes  of  coliunns 218 

Lh>  ing  out  fillets  and  flutes 221 

L'lying  out  letters 243 

iiettering  generally ......'...'. 244 

Laying  on  of  colors. "  353 

M 

Manner  of  sharpening  pen 40 

Manner  of  closing  pen 43 

Mouldings '. . . . 69 

Methods  of  describing  Greek  niouiding!4. ...........'..'.  71 

Method  of  describing  ellipses 77 

Method  of  describing  arch 134 

Moorish  archei. {hq 

Moorish  arches  of  various  kind.s 145 

Miscellaneous  arches 149 

Mixed  ornament ^^ 

Moorish  f r<3t  work 1 72 

Mixed  Greek  ornament 1 74 

Mouldings  of  Tu.scan  order i2« 

Mouldings  for  Doric  order 028 

Modillions 238 

Miscellaneous  matters 241 

Making  of  letters 242 

Methods  of  coloring 250 

Mixing  colors ........'.'. 2.53 

Materials  shown  by  'latching 258 

Method  of  mixing  iiik . .       260 

O 

Ornamental  curves 59 

Ornaments  from  circles 60 

<  )vals 81 

Ornamental  line  work 87 

Ogee  arches 137 

Ogee  Tudor  arches 138 

Ogee  Gothic  arches .............[[.[ 138 

Openings  in  stone  work .'..'.'... 143 

Ornamental  Gothic  work 166 

Ornamental  cut  work 199 

Ornamental  balustrades ...........]. 205 

Ornamental  iron  work ' '    ' 215 

Order  on  archit'    ture '. 223 


^^i»le£::^-«flKi«."-'M«BWIHJH7J 


INDEX  $ 

Open  letters ^44 

Old  style  letters '..',..'.'.',.  245 

P 

Preface 2 

Paper  tacks 21 

Prices  of  drawing  \yeuH '.'...'.'...'.'.'.'.'.'.'.'.     89 

Pens,  with  and  without  ink Td 

Proper  method  of  holding  pen .'.'.'....'.'...]'.'.'.     )(i) 

i^oHJtion  of  hand  when  drawing j)-) 

Pencil  lines  and  erasions .............[..     }»7 

Preliminary  rough  sketches 102 

Plans  in  part 105 

Plan  of  cellar ..................'.'..[..  108 

Plan  of  courses  in  brickwork .........'....[.       125 

Plan  of  details 150 

rVicket  for  sliding  doors 157 

Plan  of  pocket  for  sliding  doors ............'..'.       '7 

Perforated  stone  woik ...'.'.'.     itttf 

Panel  work  in  fret ..............[.[..  201 

Pickets  for  ornamental  fence 211 

Pro{)ortions  for  Tuscan  order 226 

Proportions  of  Doric  order 228 

Plnn  and  elevation  of  Ionic  column 234 

Plar  and  elevation  of  Corinthian  order 28(S 

Proportion  of  Com{)osite  order 239 

Proiwrtion  of  letters 243 

Preparing  paper  for  coloring .............  249 

Preparing  colors ]    '    '  353 

Preventing  ink  from  "creeping" 260 

Q 

Quatrefoil  jgj 

Quatereal  columns 21^ 

R 

Roman  mouldings 70 

Rubber  for  erasing ]    \] ^^ 

Rough  sketches ...'..'.'... 100 

Rough  sketches  figured 1(C> 

Rough  sketches  of  details ,,    ] lojj 

Random  rubble  work 1 1(5 

Rough  stone  work ...............  1  itt 

Rubble  work  coursed '/' '  ^  ig 

Rustic  stone  work ......"  \n 

Running  bond  in  brickwork 123 

Rubble  arches .'.[ i^q 

Rosette,  Egyptian istj 

Roman  hoi  dor ] ,  " jy^ 


INDEX 


Roman  Roflette \^^ 

Konmn  orimiu«nt ...'....'.'.....'.  188 

UunniiiK  elliptii^rtl  ornHinent .........[..,.'  210 

Kunian  Ionic  order o;^^ 

Rim'w  letterH .....................  24:i 

UnUtui'Mng  colored  dntwinKH '....'.'.'. 25"* 

Kougli  NliudiiiK 259 

KeiHMiimn's  "Blue  print  making" .  2«1 

S 

Met  a(]uareH .,(j 

Hwivel  8(}uare8 oy 

Htraiglit  edges 29 

Hcale-trianguiar ■■.............'.. ;iO 

Spiic'es aa 

Swiiw  drawing  instruments ■  ..l. ..]...[... hH 

•Steel  scales 47 

Showing  various  curves 83 

Hcroils,  how  to  draw  them uo 

String  and  jjencil 84 

Sli!U-i)eniiig  lead  penrils  projierly .........'. 94 

Sketciies  of  windows ' .'. 104 

Scale  for  work 107 

Section  of  brick  cottjtge .........'. 113 

Sideelevation  of  cottage '. na 

Stone  foundation 1 ,  j 

Stone  walls '.'.'.'.'.'.'.'.'.".'. ijij 

S<iuareil  stone  work 119 

Senii-citcular  arches l''7 

Span  of  arches 109 

Spring  of  arches 109 

Segmental  arclies yi^ 

Segment  of  Tuilor  arches 130 

Senu-elliptical  arches joo 

Stone  arches  with  otf.sets '.',.', mo 

Segmental  (Jothic  arches ^17 

Secti(m  of  .Joor  jamb jr.. 

Shutter  linings 150 

Splav  of  window  jambs * jlj^ 

Sp'-tion  of  window  jamb  and  (lni.sh iJu 

Sliding  doors jl„ 

Section  of  sliding  door  pocket ij){{ 

Section  of  corner  studs ]'r,y 

Section  of  window  finish 158 

Section  of  corni(!e iJiy 

Section  of  cornit-e  for  brief  building. iJji 

Section  for  Iwx  frame jg^ 

Section  for  window  sill 1(52 

Straigiit  and  curved  lines 183 

Squares  and  dia.gonals  . , , jg^ 


<f^«'  Ma^BMeV^t  Tn/  w^YVIKLIIi 


L\D£X  7 

StraiKht  Hne  ornnnipntation  . . .  ^\':.'\ 

Strap  work "j» 

Star  work  ...  '  •" 

S<-roll  work  '.'.'.'.'.'.'. ' 'i" 

S«M()ll  work  for  CHrvers  '.'.'.'. .1'^ 

S<Toll  work  on  t.|li,,t,i<-Hl  plan      . .  ' X,^ 

SoniethinK  ""  arcl.itwtiirHl  ord»rs       olw 

StH'tions  of  rolurnns y? 

Swtion  of  I)ori(!  onlcr o. jj: 

SwtioiiH  of  Fonic  or<ler ."to, 

SinKle  linu  letters .-*" 

SliHcled  letterHHml  H^ures. . !  !! ! ', 

Stone,  wotKl  an<l  iron  sliown  by  colors * 

Shading  for  lUfferent  forniM .'........" 

T 

Thumb  tacks 

Tf  e  wpmres ........'. 

Traniniel ....'.... 

Tlie  (IniwinK  pen  diwu-sseti ...'.'. 

Triangles •  ■ 

The  lead  |)enc<i) 

Tee  Mpiare  and  {wncil 

Thrast  in  archeH \"  ". 

Tudor  arch ] *'* 

Tudor  arches  of  various  kinds.' .' f^ 

Tiles  and  diagonals  ...                         ^ 

Trefoil  ornament ' •  •  •  ^ 

Turned  ornaments ''-  f 

Tracery ' 1  • '"i 

The  Tascan  order  of  archite<-ture' .' .' }^ 

The  <ire<Man  Doric  --•5 

The  Ionic  order  of  arc^iiitei-ture' '.'.'. ^ 

The  Conntliian  order  of  architecture.    T,^ 

The  Composite  f)rder  of  archite.tiire  . . .' ol. 

The  r.^e  ot  colors  m  .Irawii.-'. .  X... 

Tints  m  coloring -■•" 

U 

Use  of  bow  i>en  and  i)encil 

U.ses  of  pencils  generallv . .  ']i 

L  rns   ■  4fi 

U.se  of  colors  in  drawings '*'"' 

Use  of  hair  pencils  for  coloring  '.'.'.'. ~V.l 

Use  of  heavy  ink  lines . .      ,-••' 

200 

V 

Variable  curves 

Various  mouldings  . , ' "" 

^    76 


trR«,"'.*rt*-* 


iHr>l^CiT.ai'a«g'??»,BlAltW 


INDEX 


Vertical  meMurement* 

VouH8')iri» • 

Ver"*Hl  Hine  of  ttrcl'-*w 

VariouK  Hrchea 

VerKe  boardw 

Veranda  cut  work 

Volut^H  in  lonio  order  . 
VarioUH  letter!        


1(M 

r.» 

2!n 
244 


W 


WhUh  of  Htone 

VVallH  of  brick.  •••••::••         „• 

Window  ojienings  in  bru-k  waiw 

Window  linings .•      

Window  fran«e  with  weightH 

Winilow  tlnish  at  »iU 

Wave  niouldingsJ 

Wave  wtoUh 

Work  for  balconies •  •,•••••,••• 

Wh  It  materials  are  repreaeuted  by  colors 


114 

114 

142 

15*? 

183 

162 

177 

178 

202 

255 


PLATES 


Plate   1 


Plate 

Plate 

Plate 

Plate 

Plate 

Plate 

Plate 

Plate 


Eighteen  illtutrations .... 

•■i.  Plan  of  Cottage 

8.  Full  Frame  for  Cott-  

4.  Showing  Diapoeitic         ..oists 

«•  Elevation  of  Front  a    ^  End  of  Cotiage Z 

6.  Constructive  Details  ^ 

'■  «!!z!'^!^T!!:*"^'««<>'construc;ic;n::: :::::::  ,^ 


10 
32 
48 
64 


8.  Shows  Plans  of  Windows.  I).,ors.  etc  ,o. 

I'late  11.  Doors  and  Door  Finish  ^^ 

Plate  12.  Stairs.  Newels  and  Balusters ''* 

It^eu  S«^i?"-^^«^''-frntei:::::: 'Z 

I  late  14.  Elevation  of  a  Book-case  ^ 

Platel.1  Kitcnen  and  Students  Desk ^ 

P  ate  16.  Section  and  Plans  of  Window ^'^" 

S  ]l  S!""""  '^^°'^°-  '"  «*-«  WaU 

1  late  1».  Sections  of  Windows  in  Wood 


240 
248 
35G 


»*..___ 


fc 


Architectural  Drawing  Self  Taught 

INTRODUCTIOxNI 

Before  entering  i„,o  the  subject  on  which  this 
work  ,s  be,ng  prepared,  the  editor  and  compiler 
would  hlce  ,0  say  a  few  words  to  the  reader  in 
connection  therewith. 

It  will  be  noticed  that  the  title  of  this  work  is 
Architectural  and  Builders'  Drawing  Self- 
Taught  ;  and  this  title  fairly  conveys  to  the 
.ntelhgent  reader,  the  scope  of  the  volume,  as 
the  work  ,s  intended  solely  for  young  progressive 
carpenters  and  builders  who  are  not  going" 

the  bottom  of  their  trades,  and  who  have  not 
had  an  opportunity  of  acquiring  a  knowledge  of 
architectural  drawing  or  the  use  of  drating 
nstruments.     Many  of  the  best  draftsmen  in  the 

from  the  ranks  of  the  working  men;  men  who 
had  gamed  the  most  of  their  knowledge  of  the 
laws  of  construction  and  exactness  in  the  work- 
shop, a,  the  bench,  or  _on  the  buildings  where 


12 


AnciIlTECTURAI.   DRAWING   SELF  TAtTfillT 


they  wen;  employed;  and  I  may  say  that  it  is 
within  the  power  of  ninety  per  cent  of  workmen 
to  become  fairly  good  draftsmen,  by  their  own 
efforts,  and  the  aid  of  such  books  as  the  one  I 
have  now  prepared  for  this  i)urpose;  and  the 
young  man  who  has  by  his  own  efforts,  per- 
severance and  ability,  succeeded  in  being  able 
to  place  on  paper  or  board  with  pen  and  pencil,  a 
plain  elevation  of  a  dr  or,  window,  house,  stone 
wall,  or  \  eranda,  drawn  to  scale,  and  so  made  as 
to  convey  to  his  fellow^  workman  a  correct  idea 
of  what  is  intended,  that  man  has  achieved  a 
result  •  which  should — and  generally  does — 
advance  his  wages,  increase  his  importance,  and 
make  him  a  more  valuable  and  useful  citizen. 
It  is  not  to  be  supposed  that  this  little  work 
alone,  even  though  thoroughly  digested,  will 
enable  the  reader  to  become  a  fmishetl  drafts- 
man, nor  is  it  so  inten  '  d,  but  it  will  aid  him 
materially  in  acquiring  such  knowledge  as  will 
give  him  a  good  start  on  the  highway  to  success. 
Wherever  the  student  can  attain  access  to  a 
school  for  drawing,  there  he  should  at  once 
proceed,  for  a  few  hours  spent  over  a  drawing 
board  under  competent  supervision,  will  do  more 
towards  giving  him  an  insight  into  the  methods 
and  practice  of  good  drafti^manship  than  it  is 


ARrillTKfTURAI     DRAWING   SELF  TAUGHT 


l.'J 


possible  to  (obtain  by  many  days  of  book  study. 
Where  there  are  no  such  schools  available  the 
student  should   try  and  ^v.t   into  an   architect's 
office,  or  into   the   office   of    some    mechanical 
draftsman,  and  either  pay  for,  or   work   for,  a 
series  of  lessons  on  dra\vin^^  but  when  none  of 
these  conditions  exist,  he  should  take  up  a  series 
of  studies  in   practical  ^'eometry  in  connection 
with  drawinjr;  us  a  knowledirc  of  {^rcoinetry  as 
presented    in    either    "Modern    Carpentry    and 
Joinery",  or  other  works  published  in  this  series 
of  work-manuals,  by  Messrs.  brederick  J.  Drake 
&Co. 

The  construction  of  geometrical  figures  is 
exceedingly  good  exf:rcise  and  will  not  only 
give  the  reader  good  theor(;ti(  al  knowledge,  but 
will  help  him  in  his  drawing  lessons  and  practice 
him  in  exactness. 

By  application  and  determination  "to  fight  it 
out  to  a  finish"  the  earnest  stude-nt  will  be  sure 
to  m?ke  a  good  -perhaps  a  first-class  -drafts- 
man for,  to  the  really  earnest  man,  nothing  is 
impossible  within  the  range  of  human 
accomplishments. 

I  have  referred  in  the  foregoing  to  "exactness." 
This  is  the  first  "necessity"  in  a  drawing  that  is 
intended  to  be  used  as  a  guide  for  actual  work. 


14 


ARCIIITKCTrn.VL    DHAWIXG   SKLF  TAUGHT 


I' 


A  dravvin^r  niay  be  rounrh,  dirty  and  inartistically 
done,  but  if  it  be  complete  and  correct  it  serves 
its  purpose,  and  is  immeasurably  superior  for 
practical  uses  to  the  inexact  artistic  one,  which 
may  dazzle  with  its  shade  and  shadows  and 
fineness  of  execution,  Init  leads  to  confusion  and 
failure  and  consequent  cha<^rin  and  loss. 

I  have  thought  it  necessary  to  inject  into  this 
little  work  a  few  remarks  and  a  few  illustrations 
on  Free  Hand  Drawing,  as  many  persons  are 
gifted  wi'i  the  power  of  being  able  to  make  a 
fair  drawing  of  objects  on  sight,  and  it  was 
thought  that,  perhaps,  a  few  hints  in  this  direc- 
tion would  be  necessary  to  make  the  book 
complete,  as  these  hints  may  aid  those  who  have 
these  gifts,  and  stimulate  those  who  have  them 
not,  to  cultivate  the  art,  as  a  knowledge  of  it  is 
one  of  the  most  useful  aids  the  drawing  student 
can  possess. 

It  must  be  remembered  this  work  does  not 
pretend  to  lead  the  student  beyond  the  realm  of 
plain  practical  drawing,  such  as  the  everyday 
workman  will  find  useful  and  convenient,  when- 
ever he  wishes  to  convey  to  others  an  idea  of 
what  he  intends  to  erect,  or  to  lay  out  on  paper 
or  board  a  piece  of  work  he  is  about  to 
execute.      I    have    eschewed    perspective,    and 


AIiraiTFXTUHAJ.    DUAWINO   SKLK  TAUGHT  U 

elaborate  (.rawings  of  any  kind,  but,  should  it 
be  thought  wise,  I  may  h('reafter,  prepare  a 
work  for  this  series,  dealing  with  perspective 
and  a  higher  grade  of  work  than  h  herewith 
presented. 

SOMETHING   ABOUT    URAWiSG  INSTRUMENTS 

In  all  kinds  of  geometrical,  architectural  and 
mechanical  drawing,  the  accuracy  of  the  work 
will  depend  much,  in  theory,  on  the  excellency 
of  the  drawing  instruments  used. 

Practically,  these    instruments    are  not  quite 
perfect,  and  any  carelessness  or  negligence  of 
the  draftsman    when    using  them,  may  render 
them  unfit  for  accuracy  of  operation.     Indeed, 
the  hand  and  eye  of  the  operator,  viewed  simply 
as   instruments,    for  executing    conceptions    of 
form,  are  vastly  superior  and  more  varied  than 
the  best  of  appliances  used  by  the  draftsman,  and 
well  directed  efforts  should,  and  will,  bring  out 
this  capacity  so  that,  other  things  being  equal,  he 
will  make  the  most  expert  and  elegant  drafts- 
man whose  eye  is  most  reliable  in  its  estimate 
cf  form  and  size,  and  whose  free  hand  is  most 
skilled  in  expressing  these  elements  of  figure. 
Instruments,  however,  are  necessary,  and  a  little 
talk  on  the  subject  will  not  be  out  of  place,  and 
may  prove  of  practical  value  to  the  reader. 


16 


ARCHITECTURAL,    DRAWING   SELF   TAUGHT 


PLATE     I. 

This  plate  exhibits    some   eighteen  different 
sketches.     No.  i  shows  a  plain  method  of  laying 
out  a  room  having  sliding  doors  in  it.     No.  2 
shows    the    same    room   presented   on   another 
method.     No  3  exhibits  another  simple  plan  ot 
marking  off  the  same  room,  while  No.  4  shows 
the  walls  in  plain  black.     These  four  examples 
are  intended  to  convey  to  the  student  some  idea 
of  the  various  methods  of  illustrating.     No.  5 
shows  the  layout  of  a  porch,  with  an  angle  on 
one  corner.     No.  6  shows  the  plan  of  the  porch 
roof.     Nos.  7  and  8  show  plan  of  semi-octagon 
bay-windows,  and  roof  plan,  while  No.  9  shows 
the  roof  plan  for  a  pentagon  bay-window.     Nos. 
10  and    II    show  two   plans  ot  stairs  that  are 
suggestive.     Nos.  12  and  13  exhibit  two  styles  of 
laying  out  a  bath  room.     No.  14  shows  several 
ways  of  laying  out  fireplaces,  while  15,  16  and  17 
show  portions  of  a  pantry  and  kitchen. 


■\ 


.^^ 


PoK.v.h 


")T"(^'^N 


rr 


Tf= 


=--=0 


Poc 


r- 


^-        PmK  (^ 


iH     i'^il\3tfl^G        PLTiTEJ. 


'It 


e.^ 


/  m  ■  '  i 


v-^ 


F^tPl^Lt^ 


t 


r") 


17 


5Mr 


AmilITWTlHAI,    DHAWINO    MELF   TAUGHT  17 

Almost,  in  every  department  of  life  the  best 
results    can    only    be    obtained    by  the    skilful 
employment  of  the  best  means  available.     Some- 
limes  a  ijenius  accomplishes  supreme  results  with 
the  most  primitive  of  means,  but  it  is  not  for 
geniuses  this  work  is  prepared,  but  for  everyday 
sort  of    people,  people  who  do  not  expect    to 
build    houses    without    materials,     or     become 
draftsmen  without  lonjr  and  careful  preparation- 
and  such  bcinir  the  case  it  is  in  order  that  the 
reader  b^    advised  to  purchase  the  best  instru- 
ments and  accessories  his  means  will  admit  of. 

"A  fine  workman  requires  fine  tools,"  and  no 
man  can  do  a  fine  piece  of  work  not  having  the 
proper  tools  wherewith  to  do  it.  so  no  man  can 
do  a  good  piece  of  drafting  without  having  the 
necessary  tools;  therefore,  it  will  not  be  out  of 
place  to  commence  with  a  description  of  the 
instruments  required.  an<l  the  manner  of  using 
them.  ** 

The  first  thing  the  young  student  will  require 
will  be  a  drawing  board.  This  may  be  made  at 
home,  but  should  be  true  on  its  face  and  the 
edges  should  be  exactly  at  right-angles  with 
each  other,  or  perfectly  s.^uurr.  The  board  may 
be  made  ,n  size,  to  suit  requirements,  but  should 
never  hf,  less  than  12  by  17  inches.     Indeed,  it  is 


Id 


AIUIIITKCri'HAr.    DliAWINO    HtA.V  TAIOMT 


belter  lo  have  two   or  three    boards  of    sizes 
vir>ing  from  I2XJ7  to  36x60  inches. 


Fig.  I. 

T!;cy  may  be  clamped  on  the  ends  with  stuff 
about  I '4  inches  wide  and  the  thickness  of  the 
hoard,  or  they  maybe  held  to^^ether  with  battens 
either  screwed  on  to    he  underside  as  shown  at 


^-  '•• 


I'i{^.  I,  or  dovetailed   into  the  board   across  the 
grain   as  shown    at    I-'ig.   2.     At   I'ig.  3  a  much 


i 


H 


ARC  IIITK^TIHAL    I>HAW1\0    SK.I.K  TVfOilT 


10 


better  board  is  shown  and  one  I 


can  recommend 


Fig.  3. 


as  possessing  nearly  all  the  qualities  of  a  perfect 
board. 

A  glance  at  the  illus- 
tration will  exi)lain  the 
good  qnalitit's  of  this 
style  of  board.  The  wood 
used  should  be  carefully 
selected  pin(;  or  bass  wood 
with  hardwood  cross-bars  at  back.  To  pre- 
vent the  warpinj,^  of  the  wood,  the  board  is 
sawed  half  way  throui,di  at  about  every  two 
inches,  and  for  the  purpose  of  allowing  to  con- 
tract and  expand,  the  cross  bars  are  not  glued 
on,  but  fastened  with  screws,  which  run  in  oblong 
metal  slots.  At  the  ends,  pieces  of  hardwood 
are  inlaid,  to  give  the  T-square  a  smooth  work- 
ing edge.  They  are  also  cut  at  every  few 
inches,  to  allow  for  contraction  and  expansion 
of  the  board. 

While  the  cheapest  boards  are  made  of  white 
pine  or  basswood,  it  doesn't  necessarily  follow 
that  boards  may  not  be  made  of  other  woods; 
cedar,  mahogany  and  straight  grained  walnut 
make  very  fine  boards  and  answer  very  well 
where  you  do  not  require  to  use  pins  for  securing 
the  paper  to  the  board.     When,  then,  hardwood 


^,,  V 


20 


AIU'IIITKCTURAL    DRAWING   SKI.F  TAUGHT 


boards  are  used,  it  is  as  well  to  employ  glue  or 
mucilage  in  fastening  paper  to  the  board. 

Drawing  paper  comes  in  rolls  :>\  ii»d?finite 
lengths,  and  from  36  to  54  inche  wide,  anci  in 
sheets  of  various  sizes.  It  is  ma  !•;  in  difieient 
tints,  is  generally  very  tough,  and  is  chiehy  used 
for  details;  it  is  much  cheaper  than  Whatman's, 
and  for  many  purposes  answers  just  as  well. 
There  is  also  a  paper  comes  in  rolls  called 
"Cartridge  paper"  of  a  buff  color,  very  strong 
and  cheap,  and  admirably  suited  for  details  and 
like  work.  Tracing  cloth,  also,  comes  in  rolls, 
18,  30,  36,  and  42  inches  wide;  it  is  convenient 
and  durable,  and  may  be  folded  up  almost  any 
number  of  times  without  injury. 

Tracing  paper  is  made  of  different  qualities 
and  sizes;  it  is  renderetl  transparent,  and 
qualified  to  receive  ink  lines  and  tinting  without 
spreading.  Like  tracing  cloth,  when  placed 
over  a  drawing  already  executed,  the  drawing  is 
distinctly  visible  through  the  paper,  and  may  be 
copied  or  traced  directly  by  the  ink  instruments; 
thus  an  accurate  copy  may  be  made  with  great 
expedition.  We  cannot  give  reliable  price 
quotations  of  these  papers,  as  they  vary  some- 
what, and  may  be  different  prices  in  different 
localities. 


-ir^j-;  •■^•'v;:Vf'!' 


m^\'m..M. 


ARCHITECTURAL    DRAWIXG    SELF  TAUGHT  21 


The  paper  should  be  fastened  to  the  board 
with    pins    or     thumb-tacks     simi 
exhibited  in    Fig,  4.     These  i 


lilar    to    those 


made   with  a 


broad  flat  head, ^  .„^,^, 

or  silver,  and  rounded  so  as  to  permit         I 

the  square  to   slide  easily  over  them,      ^'^'  -* 

and  the  stem  should  be  of  steel  and  riveted  or 

screwed  into  the  head. 

Fig.  5  exhibits  several  styles  of  "thumb-tacks," 

all    of    which    are    well    enough    in    their   way. 

There     is     a 

number  of  other 

styles    of    tacks 

of  various  kinds     ^-    ■■  ^*v 

besides  the  ones  P 

shown. 

When  the 
young  student  gets  down  to 
makes  use  of  good  paper 
damp  the  edges  of  the  paper,  then  glue  the 
edges  and  place  fairly  on  the  board,  holding  it 
in  place  with  pins  or  other  suitable  a-r^Iiances, 
which  may  be  removed  when  the  work  is  dry 
and  ready  to  operate  upon.  This  method  of 
fastening  is  sufficient  where  no  shadowing  or 
coloring  is  to  be  applied,  and  if  the  sheet  is  not 
too  long  a  time   upon  the  board.     It  has  the 


Fig. 

"real    work' 
he     should 


and 

first 


I 


-^.. 


1^ 


22 


ARrillTKCTrnAL    DRAWIXG   SEI-F  TAUGHT 


i 


advantage,  too,  of  preserviio^  to  the  paper  its 
natural  quality  of  surface.  With  mounted  paper, 
there  is  no  other  proper  way  of  fastening.  For 
large,  colored,  or  elaborate  drawings,  however, 
a  damped  sheet  is  preferable,  and  where  the 
coloring  is  a  flat  tint,  damp  stretching  is  indis- 
pensable, as  the  partial  wetting  by  water  color 
causes  the  surface  to  buckle;  partial  wetting  of 
loose  paper  by  water  color  causes  the  surface  to 
buckle. 

Damp-stretching  is  performed  in  the  following 
manner:    lay  the  sheet  on   the  board,  with  the 
face    side    under,    and    have   the    thick    edges 
trimmed  from   the  paper;    draw  a  wet  sponge 
freely  and  rapidly  over  the  upper  side,  beginning 
at  the  center,  damping  the  en         -urface,  and 
allow  the  sheet  to  rest  for  a  fc         mutes  till  it 
be    damped    through,    and     the    surface-water 
disappears.     Those  parts  which  appear  to  revive 
sooner  than  others,  should  be  retouched  with  the 
sponge.     The  damping  should  be  done  as  lightly 
as  possible,  as  the  sponge  always  deprives  the 
paper  of  more  or  less  of  its  sizing.     The  sheet  is 
now  turned  over  and  placed  fair  with  the  edges 
of  the  board— sufficiently  clear  of  the  working 
edges  to  permit  the  free  action  of  the  drawing- 
square.     The    square,  or  an  ordinary  straight- 


^^^hBO^Hahdii^-u^^^^ 


^j_L_,     ",';'^^iV^_;_^3Ej 


F^^syg^vm^^j^lgCT^ 


HP,  1 


o 


3  e 


'j 


,' 


ARCHITErTUnAL   DRAWIXO   SELF  TAUGHT  23 

edge,  is  next  applied  to  the  paper,  and  set  a  little 
w.thm  one  edge,  which  is  then  turned  up  over 
the  square  and  smeared  with  glue.  The  paper 
«s  then  turned  down  and  pressed  on  the  board, 
after  which  ,t  is  rubbed  down  all  along  the  "lap' 
with  some  smooth  article.  The  same  process  is 
performed  on  the  other  edges  of  the  ,aper 
The   whole    is  «    i      • 

then  left  to  dry. 
which,  when 
completed, 
leaves  the  sur- 
face flat  and 
tense. 

It  is  not  likely 
the  ordinary 
workman  will 
want  to  color  his 
drawings,  there- 
fore he  will  find 

it   safer,  and   less    trouble,  to    simply  tack    his 

paper  on  the  board  with  the  thumb  tacks,  and 

nk  but  I  have  thought  it  well  to  give  some  hint. 

for  cot"'         .""""  °'  P^^P^'-'"^  ^^^  P^-^P-^ 

say  on  this  subject  and  on  the  subject  of  color 


■111 

I 
I  ! 


V- 


Z 


wm 


24 


ARCHITECTUKaL   drawl         5ELF  TAUGHT 


Having  prepared  a  drawing  board,  the  next 
thing  will  be  to  provide  a  table  or  desk  to  rest 
the  board  on.  I  show  a  very  good  scheme  for 
this  purpose  in  sketch  Fig.  6,  and  which  can 
readily  be  made  by  any  workman  who  can  use 
tools.  This  should  be  fixed  in  some  place  where 
there  is  an  abundance  of  light  and  in  such  a 
position  that  the  light  will  fall  on  the  board  from 
the  left  side  as  shown  in  Fig.  7.     The  height  and 


Fig-  7. 


projection  of  the  table  or  desk  are  m.arked  in 
Fig.  6,  and  a  movable  block  of  about  3  inches 
square  is  shown  at  A,  which  can  be  moved  in 
such  a  fashion  that  the  -ngle  of  the  board  may 


'1-^'  .#jeHP\ 


ARCHITECTURAL  DRAWING  SELF  TAUGHT  25 

be  made  to  suit  the  operator.     This  block  must 
of  course  be  as  long  as  the  drawing  board. 

Fig.  7  shows  the  board  in  position  with  the 
paper  tacked  on,  and  the  proper  position  of  the 
hands  are  shown  as  they  should  appear  while 
making  the  drawing. 

The  next  thing  to  be  considered  is    the    T 
square.     This 
needs   but  little 
description,     a  s 
every   workman 
is    supposed    to 
know  what  this 
instrument  is;  it 
may,   however, 
be   noted  that 
T-squares  differ 
in    construction. 
In  the  common- 
est the  "blade", 
or  thin  portion, 
is   fixed    flush 


Fig.  8. 


With  one  side  of  the  "butt",  or  "head",  as  at 
A,  Fig.  8.  In  other  forms  the  blade  is  fast- 
ened in  the  middle  of  the  butt,  B.  and  this  is 
tlie  preferable  form  for  large  squares;  others,  at 
C.,  tig.  8,  have  the  blade  above  the  level  of  the 


l\ 


26 


A..(  nil  KCTl  HAL    DHAWINT,    SKLF  TAUOIIT 


head,  to  ()(;nnit  set-squares  to  ^ro  over  it.  Very 
large  squares  have  a  couple  of  little  studs,  as 
shown  in  the  figure  B,  to  steady  them. 

Irench  curves,  L,  Fig.  9,  are  made  in  a  great 
variety  of   combinations.      They  art  extremely 

handy  for  draw- 
ing   curves    not 
easily  struck  by 
the     compasses, 
and  also  for  ec- 
centric    curves, 
which  the  com- 
passes   are    not 
able  to  describe 
as    in    medieval 
m  o  u  I  d  i  n  g  s  of 
some  forms.    In 
i  n  k  i  n  g-in  a 
curve   by   the  aid  of   one   of    these   appliances 
the  edges  must  be  turned  about  on  the  pencilled 
drawing     until     some     part     is     found     which 
corresponds,  when   the  edge  of  the  curve  will 
guide    the    drawing-pen.     There    are    a    great 
variety  of  these  curves  as  may  be  seen  at  Fig. 
10.  These  variable  or  irregular  curves  are  made 
of  thin  wood,  hard  rubber  or  celluloid,  and  are 
sold  for  a  f-w  cents  each. 


Fig.  9. 


^ 


m 

m 


ARrniTKCTtnAi,  nn vw.xr;  ski.f  TAt',;nT  ^27 

The  set    s(]uare  or   squares,  similar  to  those 

shown  at  I'ifr.  r,  C    I)   K  nn,?   n 

h-  V.  ^,  1^  K  and   H,  are  ^rrcat  aids 


Fig.  lo. 


■«6^5^' 


o  <Iraw,ng  as  tl.ey  may  be  e.nploycd  in  conjunc- 

..on  w„h  the  T-square,  for  linin,.  off  angles,  or 

aymg  oflf  parallel  lines  as  shown  by  the  <lot,e,l 

■nes  EG,  and  FH.     These  set  squares  are  „,ade 

Fig.  It. 

to   suit   different    angles,  and    in    many   styles 
as   wll   be  seen   in   Fig.  „.     Th.   manner  o^ 


I 


^  IK-. 


28 


AHCIIITKCrniAI,    I)R\WI\(i   SKI.r  TAl'CMT 


using  them   will  suggest  itself  as  the  work  pro- 
ceeds. 

T-squaies  ot  a  superior  kind  may  be  obtained 
from  any  dealer  in  mathematical  instruments 
for  from  $i.oo  to  $6.00  each,  but  in  most  cases 
the  workman  can  .nake  his  ovn  squares,  as  well 
as  his  own  drawing  boards,  and  save  money  by 
the  operation.  The  squares  shown  at  Vig.  12 
are  of  a  superior  kind,  the  blades  and  one  edge 


E 


•o 


m^ 


Fit,'.  12. 

of  the  stocks  having  ebony  or  other  hard  wood 
glued  on  the  edges  to  prevent  them  from  wear- 
ing. The  lower  square  has  a  movable  stock, 
which  is  operated  by  a  thumb  screw,  thus 
enabling  the  draftsman  to  set  the  blade  to  any 
angle  desired.  The  working  of  this  will  be 
easily  understood  by  the  reader. 


.'^^i-A^^-^if^ 


AIUimWTUHAL    I)K.V\VI\(i   HYILV  TAIOIIT 


^9 


Another  accessory,  and  one  the  workman  can 
make  for  himself,  is  a  straight  edge— or  several 
of  them— which  may  be  made  of  hard -wood,  or 
it  may  be  made  of  good  clean  straight  grained 
soft  wood,  and  have  hardwood  edges  glued  on 
as  shown  in  i-ig.  13.  l^rhaps  it  would  be  well 
to  have  three  or  four  of  these  straight  edges  in 
different  lengths  and  widths,  say  one  16  in.  long, 


^ 


-srjw.' 


1 


Fig.  13- 

one  30  in.  long,  and  another  40  in.  long.  The 
widths  may  be  2  in.,  2'/^  in.,  and  354:  in. 
respectively,  They  should  not  be  more  than 
three-sixteenths  of  an  inch  thick,  but  would  be 
better  if  they  were  thinner. 

A  rule  or  scale  is  always  necessary,  for  all 
architectural  or  other  drawings  that  are  intended 
to  be  worked  from,  must  be  made  to  scale. 
Usually,  in  this  country,  scales  are  made  and 
marked  off  to  some  proportion  of  the  English 
foot,  when  intended  for  architectural  work. 
One  sixteenth  of   an   inch   may  represent   one 


30 


,   r      'itJC 


!■: 


AIM  liriKCIlUAl.    IJIIAWINO   8KLF  TArwilT 


foot  or  one  yard,  as  tlu-  case  .nay  be.  so  also  may 
one  eijrhth,  one  quarter,  or  one  half  of  an  inch 
represent  one  foot  or  one  yard,  jusl  as  the 
<Iraftsman  determines.  One  eighth  of  an  inch  is 
the  most  used,  though  one  quarter  of  an  inch  is 


the  scale  generally  employed.  I- or  workmen's  use 
three  quarters  of  an  inch  scale  is  handy,  as  this 
makes  one  sixteenth  of  an  inch  represent  one 
inch  of  the  actual  work,  which  is  quite  con- 
venient in  a  working  drawing. 

Scales  may  be  had  flat  or  triangular,  and  in 
boxwood,  ivory  or   hird    rubber,  and  one  foot 


Fig-  15. 
long.  The  flat  scales  are  very  handy,  but  are 
sometimes  confusing,  because  often  wo  or  more 
scales  are  laid  off  on  one  edge.  Perhaps  the 
handiest  scale  for  actual  use,  is  the  triangular 
one,  which  is  similar  to  Fig.  ,4.     There  are  six 


..A»^"! 


ARCmTK(TLHAL    UHAWlNd   MKI.K   TAl(;||T 


;{i 


edges  on  this  scale,  each  edge  having  a  different 
marking  'jr  scale.  The  flat  scal«;  is  shown  at 
I'ig-  15-  'I'his  scale  is  12  inches  long,  with  16 
scales,  as  follows:*  j^,  ,\.  ■;.  m-  ^i,  U,  ^{,  r^,  ,, 
I '4.  i/i.  i?:t,  2,  2J4.  2|<,  and  3  inches  to  th<;  foot, 
the  first  division  of 
each  scale  subdi- 
vided in  12  parts, 
each. 

Besides     t  h  e  s  e 
there     are     many 
other     kinds    of 
scales  made  use  of 
by  Architects,  En- 
giiieers,  and    Sur- 
veyors,   but    these 
shown     and     d  e  - 
scribed,  will  suffice 
for     the     purpose 
for   which    this   book    is   prepan;d.    as  it  is  not 
intended  to  en, body  in  this  work  other  than  the 
simplest  methods  of  plain    architectural    work, 
and  such  as  can  be  executed  .vith  the  simplest 
kind  of  instruments. 

There  is  a  number  of  other  accessories  used 
in  drawing  besides  these  mentioned,  that  are 
not  placed  in  a  regular  box  or  case  of  instru- 


FifJ.  16. 


3< 


AHCIIlTKtTUIUI.    DUAWINU   HKU    TAUGHT 


PLATF£    2. 

Following  up  the  ideas  presented  ate  i,  I 

give  herewith  the  plans  for  ;-  JI  cottage  and 
show  the  cellar  plan,  first  floor  plan  and  chamber 
plan.  This  is  drawn  to  a  scale  of  .^  of  an  inch 
to  the  foot,  but  I  would  advise  the  student  to 
double  the  size,  which,  as  a  matter  of  fact,  the 
original  drawings  of  these  examples  is  the  scale 
to  which  they  are  made,  namely  A  of  an  inch  to 
the  foot.  Every  item  neces-ary  for  a  house  of 
this  description  is  shown  on  these  plans. 


i  JI 


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.t;:ai^»'  ^y-T'jr^M  •  i  ira&:'''  *'  ''yr  •  ■    -v.  <-! 


Plate. Z 


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1 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  33 

ments,  such  as  splines,  ellipsographs,  and  beam- 
compasses;  the  latter  being  designed  for 
drawmg  circles  of  large  diameter,  and  are  so 
made  that  the  points  can  be  moved  to  the 
desired  distance  apart.  One  steel  point  may  be 
removed  and  a  pencil  or  inking  pen  inserted.  Set 
screws  hold  the  heads  m  position  on  the  sliding 
bar  A,  Fig.  i6.  This  bar  may  be  of  wood,  or  of 
metal,  preferably  the  former,  and  it  may  be  of 
any  desired  length. 


a 


Fig.  17. 


Splines  are  flexible  strips  of  wood  or  metal, 
and  are  used  for  forming  curves-regular  or 
variablc-and  are  held  in  position  by  a  peculiar 
attachment  which  serves  to  hold  the  curve  in 
position  as  shown  at  S  S  S.  Fig.  17.  These 
attachments  are  made  of  lead. 

The  ellipsograph  is  a  costly  instrument  and 
one  which  the  ordinary  workman  would  seldom 
require;  besides,  there  are  a  number  of  ways  by 
which  an  ellipse  may  be  drawn,  and  figures 
approaching  an  ellipse,  so  I  would   not  advise 


34 


AULllITECTUHAL    UUAWINO   SEL*-  TAUGKT 


the  young  draftsman  to  purchase  the  more 
expensive  one  until  his  means  or  business 
warranted  it.     I  give  an  illustration,  however,  of 


Fig.  1 8. 

Browne's  patent  ellipsograph  in  order  to  acquaint 
my  readers  with  the  style  of  instrument.  This 
is  an  excellent  device,  and  can  be  adjusted  to 


wmim^ifwm. 


':». 

M 


ARCHITFXTURAL   DRAWING   SELF  TAUGHT  35 

form  ellipses  or  ovals  of  all  kinds  within  the 
limits  of  the  instrument.  It  is  shown  with  some 
of  the  attachments  at  Fig.  i8.  The  price  of  this 
device  varies  from  $9.00  to  $14.00.  A  very 
good  one  may  be  obtained  for  about  $12.00. 

Apart  from  the  conventional  box  of  instru- 
ments, the  appliances  now  described  will  be 
about  all  the  young  workman  will  require 
unless,  of  course,  he  intends  to  study  for  an 
architect  or  mechanical  engineer,  when,  of 
course,  he  will  have  passed  beyond  the  limits  of 
this  work  which  is  intended  only  for  such  work- 
men as  have  no  other  opportunities  of  learning 
the  rudiments  of  draftsmanship. 

It  will  be  in  order  now  to  say  something  about 
the  instruments  proper  the  beginner  will  require 
so    I   will,  as    briefly  as    possible,  describe  the 
instruments,  explain  their  uses,  and  offer  a  few 
suggestions  as  to  their  care  and  management. 

A    BOX    OF    INSTRUMENTS 

It  is  not  my  province  to  recommend  any 
particular  make  of  instruments  for,  so  far  as  i 
am  aware  any  of.  the  ordinary  makes-that  are 
not  intended  for  school  children-will  serve  the 
purpose  of  learning  their  use.  and  afterward^ 
the  student,  when  advanced  sufficiently,  a  more' 


36 


AnCHITKCrUHAL    DHAWIXG    SELF  TAUGHT 


costly  and  more  complete  set  may  be  obtained  if 
found  necessary.  While,  of  course,  purchasing 
drawing  instruments  is  like  purchasing  tools, 
that  is,  it  is  always  better  to  buy  the  very  best 
that  can  be  bought,  and  I  may  say  that  the  best 
may  be  obtained  in  single  pieces  or  in  boxes 
containing  only  three  or  four  pieces.  However, 
perhaps,  it  is  best  in  our  case  to  get  a  set  similar 
to  the  case  shown  at  Fig.  19.     This  is  a  Morocco 

case  which  con- 
tains two  divid- 
ers, pen  and  pen- 
cil points,  draw- 
in^  pen,  and  a 
six  inch  flat 
scale.  This  case 
can  be  bought 
for  about  $4.00, 
for  which  sum  instruments  ought  to  be  fairly  good; 
if,  however,  the  student  can  afford  it,  and  feels 
t!uit  he  had  better  purchase  a  set  of  instruments 
that  will  meet  all  his  needs,  present  and  future, 
why  then  he  had  better  invest  in  a  better  quality 
of  goods,  and  purchase  a  case  containing  a 
greater  number  of  instruments  and  of  a  finer 
grade,  such  as  I  show  at  Fig.  20,  which  may  be 
obtained  for  about  $Jo.oo  or  $25.00.     This  case 


Fig.  19- 


I 


AluniTKcirnAi,  duawinc;  ski.i    imcjiit 


.'17 


contains,  besides  ihe  box,  one  sji  in.  dividers, 
with  pen,  pencil  and  needle  points,  lengthening 
bar;  3'^  in.  dividers,  with  pen,  pencil  and  needle 
points;    5    in.  plain  dividers;    5  in.   hair  spring 


Fig.  20. 

dividers;  spring  bow  dividers,  pen  and  pencil, 
needle  points,  ivory  handle;  4>^  in.  ivory  handle 
hinged  drawing  pen,  needle  point;  5^^  in.  ivory 
handle  hinged  drawing  pen,  needle  point; 
German  silver  protractor,  ebony  rule  and  scale. 


%  AHCMITKrnJHAL    I)U\\VIV(J   HVA.r  TAt^r.flT 

These  instruments  are  made  of  fine  German 
silver  with  superior  steel  points. 


( 


/ 


Fig.  21. 

Fine  Swiss  made  instruments  cost  more  than 
German  ones,  as  some  of  the  Swiss  cases  run  up 


IT  mm.'^^s^s^SiMm'ii^ "  i  sm^Ki^-^ih^t 


ARrHiTRcrrnAL  hrawivg  sklf  TAtrouT  30 

to  $150.00  and  $i75.cjo.  Knglish  and  American 
made  instruments  arc  hi^rh  priced,  but  as  a  rule 
are  more  substantial  and  in  the  end  give  bet- 
ter satisfaction  than  other  makes. 

The  first  things  to  be  considered  in  a  set  of 
instruments  arc  the  compasses.  These  generally 
include  dividers  and  pen  and  pencil  attach- 
ments. It  is  not  necessary  to  illustrate  or  de- 
scribe the  form  of  these  instruments,  as  they 
may  be  seen  in  the  .ase  as  shown  in  Fig.  20, 
and  the  interchangeable  parts  will  easily  find 
the  place  they  are  intended  for  when  required 
for  use;  so  I  will  not  dwell  on  the  subject  of  com- 
passes longer. 

Perhaps  the  most  important  article  in  the  case 
to  ^he  young  student  is  the  pen,  and  I  will  there- 
fore devote  more  space  to  a  description  of  it 
than  I  will  to  any  other  of  the  instruments,  as  a 
proper  knowledge  of  its  use  and  care  will  be  of 
great  assistance  in  the  work  before  us. 

A    DRAWING    PEN 

This  is  the  most  useful  and  the  most  used 
instrument  in  the  case.  Fig.  21.  which  is  taken 
from  Keuffel  and  Esser  Co/s  catalogue,  shows  a 
variety  of  pens  of  the  very  best  make,  pens  that 
are  suited  for  any  kind  of  line  drawings  in  ink 


40  ARnilTFX-nJttAL   DUAWISG   HELf  TArOilT 

The  prices  of  these,  with  ivory  handles,  range 
from  $1.40  to  $2.50  each,  and  they  are  warranted 
to  be  the  best  of  their  kind. 

A  few  words  as  to  the  use  and  care  of  this 
instrument   may   not    be    out    of    place  at   this 
juncture,  as  it  is  important  the  instrument  should 
be  well  understood  by  the  student  so  that  he 
may  the  better  be  able  to  make  the  best  of  it. 
The  man  who  devotes  himself  exclusively  to  any 
particular  vocation,  day  after  day.  for  several 
years,  acquires  an   intimate    knowledge   of    its 
details  that  is  not  easily  imparted  to  the  novice 
through  the  medium  of  pen  and  ink.  and  often 
when  it  is  attempted,  the  finer  details  which  con- 
tribute so  much  to  success  are  passed  over  lightly 
or  are  omitted  altogether.    "In  the  course  of  his 
experience    he    acquires    ways    and    means   of 
prosecuting  his  work,  if  he  be  intelligent   and 
progressive,  which  makes  its  execution  easy  and 
places  him  on  the  list  of  "skilled  operators." 

The  art  of  mechanical  drawing  contains  a  few 
of  those  mysteries  which,  if  published  at  all,  have 
not  been  given  a  very  wide  circulation. 

Our  scientific  libraries  and  dealers  in  technical 
works  are  copiously  ?upplie<l  with  books  on 
mechanical  drawing,  in  any  of  which  may  be 
found    the    illustrations    of  tools,  curves,  inks, 


ARriTITKfTtTHAL    nHAWINO   HKI-F  TAUOHl' 


41 


colors,  etc.,  carefully  reproduced  from  the 
catalogues  of  dealt;rs,  but  the  accompanying 
:'escription  does  not  always  give  a  clear  idc^a  jf 
the  relative  merits  of  the  different  tools  shown, 
how  they  should  be  selected,  handU;d,  and  kept 
in  repair,  and,  while  it  is  not  intended  in  this 
work  to  describe  the  methotls  of  caring  for  and 
repairing  all  the  instruments  a  box  contains,  it 
is  necessary  the  pen  should  have  more  than  a 
passing  notice. 

It  is  a  custom  with  many  makers  of  first-class 
instruments  to  hinge  one  jaw  of  the  ruling  pen 
to  the  little  separating  block  above  the  adjusting 
screw,  so  that  it  may  be  opened  after  the  adjust- 
ing screw  is  removed.  In  a  pen  of  this  kind  the 
joint  should  be  very  snug,  as  the  least  amount  of 
play  will  allow  the  point  of  one  jaw  to  slip  ahead 
of  the  other,  which  would  destroy  the  efficiency 
of  the  pen.  In  the  opinion  of  the  writer  this 
joint  is  altogether  unnecessary.  It  increases  the 
lirst  cost  as  well  as  complicates  the  instrument, 
and  if  used  often,  will  get  out  of  order,  even 
with  the  very  Ixtst  workmanship.  If  used 
properly  the  points  need  never  be  separated 
further  than  the  adjusting  screw  will  permit. 
Many  draftsmen  have  the  hinge  joint  brazed  or 
soldered  so  as  to  fix  the  movable  jaw  to  the 


I 


->^Jr- 


r 


iS 


4-2 


vut  iirir<n  u\i.  duwvimj  sklf  tauoiit 


|-' 


srparatin^  Motk  aii'l  make  it  permanent.     The 
points  of  a  pen  should  never  be  separatetl  for 
sharpening',  which  is  the  only  purpose  for 
whieh  the  hin^e'  is  made.   W  hen  the  point 
lias  become  dull  from  use  it  will  be  found 
with  a  shape  similar  to  b'ig.  22.     To  restore 
i:   to  the  proper  form  the  jaws  should  be 
closet!  by  the  adjusting  screw  .  so  that  the 
v^y     points    press  yently   a<.jainst  each  other; 
then  with  a  fnii;    )ilstone  worked    with   a 
1  circular  motion    en    the   high  con    rs  it 

rig.     should    Ix;  ijrounfl  to  a  diape   similar  to 
lij^.  23.      The  poin;  will  then  bt-  blunt,  but 
will  liavt    tlie   [)U:,  cr  working  when  the 
sides   ;ire  reduced,  which  should  be  care- 
fully don(^  by   layintx  the  side  of  the  pen 
on  the  suiii     .it  an  angle  with  its  surface 
that  will  allow  the  metal  tu  be  ^^round  in 
I  straight  line   to  a  <listance  of  about  one 
(juarter  of  an   in^  h   from  th'-  point.     The 
jaws  should   be  ojxned   freijUenti^v  as  the 
work  progn  ---es  and  tlie  points  examineii 
to  a\oi(l  grinding   through   the    point   of 
''■       one    i  iw   into    that     )f     he     other.       The 
sides  are  to  be   rediu^    !    t  '1   th<:   )  oint-.  of         h 
jaw    are    ('(nial    and   ju  t    l:ne     'nough    to   slice 
sp.i.ooth.; V   over  the   paper  without    produc     g  a 


AJinilTKfTI'nM,    nRAWINO    HK.I.F  T\T'«||T 


i'l 


cuttin;,'    or     scratt  hin^     sens;=tion.     When    the 

points  are  not  sharp  enough  to  make   a  clean 

fine  line  the  hhint  part  is  <;asily  visible  with  tl'.e 

naked  eye,  hut  wh«ii  it  is  sufficiently  re- 

(hiced  it  is  hardly  possibh-  to  see  it.      Vhv. 

shape  of  the  curves  in  the  sides,  or  jaws, 

of  a  pen  is  also  an  important  feature.     If 

the  pen  is   too  open    near   the    point  on 

account  of  the  jaws  being  too  mu(  h  curved, 

as    in    lig.   24,   it    will    leave   too     much    c  -  ] 

space  for  ink.  causing  it  to  dry  quickly  or    ''''^ 

to  fall  out  in  us  ng.     lig.  25  shows  about 

the  proper  am      nt  of  cur\  c  in  the  jaws 

t«    give  sufficient   ink  space.  ^'^   '^ 

Wooden  hand!-  s,  though  not  quite  as 
elej^.int  as  bone,  are  preferable  as  they 
an  iOt  liable  t(  breaT  when  accidentally 
swept  off  the  drawing-board — ^^  accident 
that  destroy,  nine-tenths  of  the  bone 
handles. 

For  spring  bow  pens  ami  pen(  il  com- 
passes it  is  idv'sable  to  have  011  the 
adjusting  screw,  when  the  pen  or  pen<  d 
is  set  to  draw  ts  largest  circle.  With  a 
pen  that  is  not  too  strong  spr-nir 

an    experienced  draftsm, 
his  centers  to  drav.-  a  s 


44 


ARnilTECTURAL   DRAWING   SELF  TAUGHT 


the  circle,  as  this  may  be  easily  accomplished 
by  springing  the  pen  gently  toward  the  side 
to  be  shaded,  as  he  continues  the  movement 
of  drawing  the  circle.  The  pivot,  or  needle 
point,  should  always  be  adjustable.  When  it  is 
made  solid  with  the  leg  of  the  instrument  it  is 
generally  shaped  like  the  point  of  a  sewing 
needle,  and  will  pierce  a  large  hole  through  the 
paper  or  tracing  cloth  with  the  slightest  pressure 
if  used  several  times  in  the  same  center;  and 
should  a  small  piece  be  broken  off  the  point,  the 
pen  will  be  useless  unless  a  similar  length  be 
ground  off  the  nibs  of  the  pc.: 

A  very  common  source  of  annoyance  'n  nearly 
all  bow  pens  and  pencil  compasses  is  found  in 
the  eye  or  socket  provided  for  the  pencil.  In 
many  cases  it  is  found  too  large  to  hold  the 
ordinary  naked  lead,  and  too  small  for  those 
covered  w^ith  wood.  Frequently  draftsmen  are 
obliged  to  overcome  this  difficulty  by  the  clumsy 
makeshift  of  reducing  the  wood  till  it  fits  the 
socket. 

Sometimes  a  small  bushing  is  provided  with 
the  compass,  that  will  fit  in  the  eye  and  hold  the 
lead.  This  is  unsatisfactory,  as  the  pencil  cannot 
be  readily  adjusted  as  the  point  wears  away. 
The  most  effective  treatment  an  instrument  of 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  45 

this  kind  can  have  is  to  file  away  the  metal  in 
the  parting  or  "split"  of  the  socket  and  close  in 
its  sides  so  as  to  reduce  the  eye  sufficiently  to 
grasp  the  hexagon  lead  of  a  6H  pencil;  this 
makes  the  pencil-holder  very  convenient  as  well 
as  economical,  the  butts  of  worn  pencils  may  be 
stripped  of  their  wood  and  the  leads  used  in  the 
compasses. 

So  much  for  t'.ie  pen  in  its  various  forms;  and 
now  a  few  words  concerning  some  of  the  other 
instruments.     Among  these  may  be  found  some 
possessing  various    degrees  of    usefulness,  and 
others  having  no  merit  whatever.     Some  of  the 
devices  that  have    been    invented    for   making 
broken  or  dotted  lines  may  be  classed  among  the 
latter.     The  proportional  compasses  or  dividers 
is  a  very  good  tool  to  have  in  stock,  but  it  should 
never  be  used  for    transferring  drawings  from 
one  scale  to  another  when  accuracy  is  required; 
not  only  is  the  instrument  liable  to  be  in  error,' 
but  if  there  should  be  any  mistakes  in  measure- 
ment in  the  original  drawing  they  will  be  trans- 
ferred to  the  new  in  a  greater  degree. 

A  much  more  effective  and  convenient  pointer 
than  that  usually  found  in  sets  of  instruments 
may  be  made  on  the  one  end  of  a  6H  pencil  by 
reducing  it  to  a  fine  point.      The  dot  or  point  left 


46 


ARCHITECTUUAL    DRAWING   SELF  TAUGHT 


i; 


by  it,  indicating  the  dimension,  is  always  easily 
found,  and,  as  the  other  end  of  the  pencil  may 
be  made  "chisel  shaped"  or  flat  for  drawing 
lines,  the  operation  of  laying  off  dimensions  and 
drawing  the  lines  may  be  carried  on  without 
changing  tools  or  losing  time.  For  sharpening 
pencils,  it  is  very  convenient  to  have  a  fine  file, 
attached  by  a  string  to  the  under  side  of  the 
drawing  board,  or  what  is  still  better,  as  the  file 
very  soon  gets  dull,  a  piece  of  wood  made  about 
the  shape  of  a  small  flat  file  with  a  piece  of 
emery  cloth  glued  to  each  side.  In  using,  the 
pencil  should  be  rubbed  on  the  emery. 

The  boxwood  scale  with  triangular  section, 
same  as  shown  at  Fig.  14,  has  served  its  purpose 
well,  but  it,  too,  has  its  weak  points.  The 
requirements  of  a  good  scale  are  that  the 
graduations  and  figures  shall  be  plain  and 
indelible,  that  it  be  perfectly  straight  and  the 
edges  sharp,  so  that  the  division  lines  may  be 
brought  close  to  the  paper.  The  boxwood  scale 
does  not  possess  the  first  of  these  features  as 
the  lines  will  be  often  dimmed  or  partially 
obliterated  with  two  or  three  years'  use. 

Some  draftsmen  have  a  habit  of  taking  off 
dimensions  by  placing  one  leg  of  the  dividers  on 
any  particular  division  and  extending  the  other 


"wm.'^vfi. 


'«9V>^.    mei^ukv. 


AHCIIITECTURAL    DRAWING   SKLF  TAUGHT 


47 


to  the  distance  required.     When  this  is    done 
with  a  boxwood  scale  its  usefulness  is  limited  to 
a  very  short  time.     The  grain  of  the  wood  must 
be  straight,  or  it  will  be  apt  to  warp  or  spring. 
Some    excellent    scales  are  made  of  hardened 
steel,  by  a  firm  in   iVovidence,  R.  I.,  which  seem 
to    me    to   be    as   near   perfection   as    possible. 
Draftsmen  as  a  rule,  however,  object  to  making 
use  of  steel  scales,  and  they  have  not  come  into 
general  use;  and  for  this  reason,  these  scales,  we 
are  informed,  cannot  be  obtained  unless  specially 
ordered  at  the  factory. 

Every  metallic  instrument  the  draftsman  uses 
should,  when  possible,  be  nickel-plated.  There 
is  nothing  contributes  so  much  to  their  pres- 
ervation, no  amount  of  careful  polishing  and 
wiping  will  so  effectuall>-  prevent  rusting  and 
discoloring,  and  nothing  improves  their  appear- 
ance so  much  or  makes  them  so  agreeable  to 
handle.  The  cost  of  plating  is  insignificant 
compared  with  the  benefit  derived,  as  the 
average  cost  of  plating  would  not  exceed  ten 
cents  for  each  tool  or  instrument. 

In  selecting  triangles  it  is  essential  to  have 
them  of  a  material  that  will  not  change  shape 
with  each  atmospheric  disturbance.  For  a 
number  of  reasons  hard  rubber  is  the  best  that 


-.afrfc^   .<...ltfka..-t-';:^l 


48 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE  3. 

On  this  Plate  I  show  the  side  frame  of  the  small 
cottage  with  all  the  openings  for  windows,  also 
two  sections  of  the  framework,  with  the  heights 
marked  on  for  the  different  stories  and  sizes  of 
timbers.  The  stonework  and  cellar  windows  are 
shown. 


t-.-..     Mir 


"^^^^sni 


cr» 


4^lC-^ 


CL"  'JT'-V-JT^UfSriiP-'  ,^-ilk\%l^^'-::,'>t^S^?^3Bk 


AIUIIITEfTURAL    URAWING   SELF  TAUGHT 


40 


has  been  offered  to  the  trade.     It  is  unchange- 
able, under    ordinary  conditions,   and    may   be 
made  into  angles  from  ,•,  to  A  of  an  inch  thick, 
which  is  about  right  for  handiness  and  strength. 
There  are  very  few  woods  that  are  adapted  to 
this  purpose,  because  of  their  liability  to  warp 
and  twist,  and  generally  they  have  to  be  made 
too  thick  for  convenient  use.      The  same  rule 
holds  good  in  the  selection  of  a  T-square;  the 
blade  should  be  as  stiff  as  possible  and  the  edges 
not  more   than    'i^  of  an   inch  thick;  when  the 
edges  are  thicker  it   is   difficult   to   draw   long 
parallel  lines,  particularly  with  the  pen,  as  the 
point  of  contact  between  the  pen  and  the  blade 
of    square    is   on    the    upper  corner,  while  the 
position   of   the   jjoint,    when   the   pen    is   held 
vertically,  must  be  the  same  distance  from  the 
lower  corner  of  the  edge  of  the  blade  on  account 
of  the  angle  formed  between  the  side  of  the  pen 
and  the  edjre  of  the  blade.     On  the  other  hand, 
it  is  not  advisaiile  to  have  the  edge  less  than  ^\ 
of  an  inch  thick;  this  would  bring  the  point  of 
contact  too  close  to  the  point  of  the  pen  and 
would   render  it   liable  to    smear  the   ink.     An 
excellent  T-square  patented  some  time  ago  has 
a  thin  piece   of    brass   plate   with   a  knife-edge 
inserted  in  the  working  edge  of  the  blade.     This 


50 


AWHITKCTL'RAL    DHAWINO    8KJ.I     TAIGIIT 


does  very  well  when  only  a  pencil  is  used,  but  a 
pen  cannot  he  workv^d  successfully  against  so 
thin  an  edge.  A  blade  made  of  two  different 
kinds  of  wood  similar  to  that  shown  in  I'ig.  12, 
such  as  a  mahogany  center  and  ebony  edges, 
while  being  excellent  in  their  way,  are  liable  to 
warp  and  "buckle"  and  require  watching. 
Squares  with  swivel  butts  are  very  convenient 
for  certain  kinds  of  work,  but  for  general  pur- 
poses and  for  such  students  as  this  book  \a 
intended,  the  swivel  st  ck  had  bettt^r  be 
eschewetl.  It  is  much  more  convenient  to  have 
the  blade  secured  to  the  stock  as  shown  at  A 
and  C,  Fig.  8,  than  to  have  it  dovetailed  or 
mortised  into  the  stock  as  shown  at  B,  lig.  8. 
By  this  means  th(;  upper  surface  of  the  stock  is 
on  the  same  level  as  the  drawing-board  and 
does  not  interfere  with  the  angl's  or  scales 
when  working  near  it. 

Perhaps  the  most  troublesome  appendage  to  a 
draftsman's  outfit  is  found  in  the  many  forms  ef 
porcelain  ink  saucers  and  "j)iles."  I'or  holding 
and  mixing  soft  colors  the  pile  of  saucers  does 
very  well,  but  it  takes  a  long  time  to  rub  ink  by 
this  method  b(;for<;  a  good  black  ink  i.i  produced 
as  the  smooth  bottom  of  these;  dishiis  does  not 
abrade    the    slick    of    ink    rapidly.      There    arc 


ARCHITKCTUHAL    DU.Wi.NG   SELF  TAUOIIT 


51 


several  preparations  of  liquid  ink  that  may  be 
purchased,  but  they  lack  that  solid  black  body 
in  fine  lines  that  is  so  necessary  for  drawings  or 
tracings    that    have  to   be   copied 
by  the  blue  printing  process.    Pre- 
pared  liquid  ink  requires  a  longer 
time  to  dry  and  is  more  liable   to 
smear  than  ink   made   fresh   from 
the  stick.     Th<!re  is  an  ink  saucer 
made  by  a  firm  in  New  York  City 
that   seems   to    meet    all    require- 
ments.    It  is  simply  a  slab  of  slate 
about  four  inches  square  and  three- 
fourths  of  an  inch  thick,  having  a 
cup   or  saucer   shaped    cavity  for 
holding  the  ink   turned  in  its  cv_n- 
ter,  and  covered  over  with  a  piece 
of  plate  glass.     A  good  black  ink 
may  be   mixed   in   this  saucer  in  a 
few  minutes  by  the  grinding  action 
of  the    slate    on    the    stick   when 
being  rubbed.      While    it    is  quite 
necessary  to  have  the  ink  with  some 
"body"   in   it.  it  is  not  best  to  make  it  too  thick, 
as  it  will  not  flow  well  then,  and  will   be  apt  to 
dry  too  quickly  and  c'og  up  the  pen. 

When  the  ink  is  ready  to  use,  a  portion  of  it 


Fig.  26. 


rti 


AHflllTKCTlMlAI,    I)H\WIN<;    «Kl.l     TMTOIIT 


may  be  inscrtid  lu'twcen  iln;  nih.  of  th'  pen 
until  there  is  ai  out  as  mu  h  ink  in  the  pen  as 
shown  by  the  shaded  part  in  i  i^.  26,  where  two 
pens  are  shown,  one  cliarj^c!  an<l  one  empty. 
The  ink  may  be  put   in   the  pen  by  the  aid  of  a 


I: 


Fig    27. 

camel  hair  or  sable  brush,  such  as  siiown  in  big. 

27,  which  is  full  size.     Ch  m  off  a'i  supcrHuotJ^ 

ink  from  the  oulsitie  i  ihc 
nib'^  of  ihe  f)en  with  a  j  iece 
of  chamois  leather  or  a  clean 
linen  cloth,  and  you  are 
ready  for  work.  I'he  pen 
may  be  filled  by  anotht  r 
method  which  i-  often 
adopted  by  draftsmen,  as 
follows:  Take  the  pen  and 
open  it,  say,  about  a  six- 
t(.'enth  of  an  inch,  clean  the 
nibs  well  with  chamois,  then 
close  the  i)cn  with  the  screw 
until    the    light   just    shows 

between  the   nibs,  then  breathe  gently  betweer. 

the  nibs  and  dip  them  cu.efully  into  the  ink,  just 


Fig.  28. 


.\HflIITK<-nH\l     l.»A\viN<!    Hji       TMH.i/T 


...i 


touching  thr  Hurf.ue  uf  the  l,.,uul,   m.l  thr   i„k 
will  run  up  U'tw.fn  the  nihn  by  attractior    of  th. 
moisture  caused  hy  the  breath  ouii.e  ii  si<le  of 
the  nibs. 

VV<  suppose  th*-  paprr  to  be  stretched  on  the 
drawinj^r  board,  and  either  hehl  in  i.lacr  by '.cin^r 
pasted  or  by  thun;'-  >  ..cks,  such  as  show,  n  l\rs" 
4  and  5.  When  all  is  ready,  hold  t'u;  pe./  a^ 
shown   in    I'hjr.    ,S,    ,nd  car-  uilly  ink   in     ,11     he 


I'ig.  2g. 


horizontal  lines,  both   full  and  dotted, 
where  ptjssible  any  slijrht  irre^nilaritf.  s  that 


correctin«r 


m 


lav'i 


^X'f'I'     '1 


I  ad 


ay 


jfraduu     d  nnes,  I-i^r.  jq,  be 
then  with   the  middle  fin 


Ic  in  pencillin^^     In  drawing  th( 


iie 


28,  turn  th 


)f  th 


fin  ',/ith  the  thinnest, 
r.  as  shown  in  Vi^r, 


screw  v.,  i.n:  [M  11  i.cicK,  say,  aboi...  .^ 
quarter  of  a  revolution  for  eac  h  of  the  others, 
the  last  opening  being  about  the  right  thickness' 
for  the  border  line.  As  the  border  line  takes 
longer  to  dry  it  is  very  easy  to  smear,  but  of 
course  this  may  be  avoided  I)y  lettinir  the  ink 
dry  while  preparing  the  ink-leg  for  the  com- 
passes.    U   is  well   to   practice    this   method    of 


AnriimxTrKAi-  drawixo  ski.k  taught 


drawing  lines  a  number  of  times  until  a  certain 
amount  of  perfection  is  attained. 

In    dravvintr   circles,   care    must   be   taken    in 
holdinfr  the  compasses  in  order  to  get  an  even 


Fig.  30.  Fig.  31. 

thickness  of  lines,  and  the  pen  should  always 
stand  vertically  ovrs  ihr.  work,  as  shown  in  Fig. 
30.  When  a  number  of  circles  drawn  from  a 
common  center  is  necessary,  as  shown  in  I*ig.  31, 
be  sure  to  draw  the  outside,  or  the  one  having 


the  greatest  radius,  first,  when  the  other  circles 
may  follow  in  regular  order.  The  sharp  curves 
as  shown  in  l"i^.  ;~,i  are  always  the  most  difficult 
to  dtaw  correctly,  while  the  Hat  curves,  or 
curves  with  greater  radius,  are,  within  certain 
limits,  much  easier  to  describe.  The  curves 
shown  at   I'ig.  32  are  llat  ones,  and  well  within 


iS--»BiTO-i»»rt!«Ksi^'*'sirT5HW^r>uiimh^^  *i"-3i->-.w=  ^«^  «.->'  ss-mtr     .  - 


AiicruTfXTumi.  nuAWixo  sfxp  taught 
e  range  of  the  ordinary  compass.    Th 


ss 


th 

.°:,; "■""■i>ry  compass.    The  inner 

curve  ,s  "dotted"  an.l  to  form   this  without  a 
dotting  pen,   with    any    degree    of    regularity 
requires  considerable  cure  and  practice,  but  it  i^^ 
much  better  to  make  ail  dotted  lines  with  the 
ordinary  pen,  than  to  make  use  of  a  dotting  pen 
wh,ch  to  a  new  beginner  is  generally  a  source  of 


^'ig-  33- 


Pig.  34. 


F'g-  35- 


trouble  and  disappointment.     The  examples  of 
circles  shown  at  l-i^s.  .3,  34  and   35  offer  good 
pracuee  ,n  curve  drawing,  with  the  compasses. 
Before  drawmjr  them,  however,  it  will  be  best  to 
draw  a  pa.r  of  center  lines  for  each  circle,  cutting 
each  other  at  right  angles  in  the  center,  and  it 
IS  a  good  rule  never  to  draw  a  circle  under  any 
circumstances  wuhout  having  two  center  lines  to 
mark  ,ts  proper  situation.      In   the   first  circle 
'g.  3^,  mark  off  points  one  quarter  of  an  inch 
ap..rt   along  one    of    the    diameters   from    the 
circumference  to  the  center,  and  then  describe 
the  concentric  circles  with  the  compasses,  taking 


f 


50 


AnCIIlTECTURAL   DRAWING    SELF  TAUGFIT 


care  not  to  bore  a  large  hole  through  the  paper 
with  the  point.  The  compasses,  if  properly 
sharpened,  should  barely  penetrate  the  paper 
and  leave  no  impression  on  the  boarvl. 

To  fill  up  the  middle  circle,  l*"ig.  34,  set  the 
compasses  to  the  radius,  and  then,  putting  the 
point  at  the  intersection  of  one  of  the  center 
lines  with  the  circumference,  mark  across  the 
circumference  on  each  side;  do  the  same  at  each 
intersection  of  the  center  line  with  circumference, 
and  it  will  be  found  that  the  circumference  is 
then  divided  into  twelve  equal  parts.  \ow 
join  each  opposite  joint  by  a  line  passing 
through  the  center  and  the  figure  will  be 
complete. 

The  last  figure  to  be  drawn,  Fig.  35,  is  the 
most  difficult,  but  has  the  best  effect,  so  it  is 
worth  taking  some  pains  ov^er.  Draw  the  two 
center  lines,  put  in  the  large  circles  and  divide 
the  horizontal  diameter  into  '4  in.  spaces.  Take 
the  small  compass,  set  it  to  ,'4  in.  radius,  and 
then  put  in  the  smallest  semicircle  on  each  side. 
Then  set  it  to  ><  in.  radius,  and  put  in  the  ne.xt 
semicircle;  then  to  %  in.  radius  for  the  next  two 
semicircles,  which  should  exactly  meet  at  the 
center.  Now  to  i  in.  radius,  and,  lastly  to  i  J4  in. 
radius,    checking    the    curves    before    actually 


ARCHITECTURAL  DRAWING  SELF  TAUGHT  57 


those 


ffers 


drawing  them,  by  seeing 
already  drawn. 

Here  is  an  example 
altogether  with  curved  1 
good  practice.  This  re- 
quires accurate  division 
and  correct  draftsman- 
ship. 

A  few  practical  exam- 
ples of  the  use  of  curves 
are  shown  in  the  follow- 
ing figures:  Fig.  37 
shows  a  scheme  by  which  ^''K-  ^^ 

an  ornament  may  be  constructed  where  all  the 


'*'K    37- 


>8 


AnciIlTECTURAL   DHAWIXG   SELF  TAUOIIT 


I'M) 


curves  are  drawn  with  one  radius.  The  manner 
of  getting  the  centers  is  shown  by  the  dotted 
lines.  P'igs.  38  and  39  exhibit  another  combina- 
tion of  curves  which  is  easy  to  draw.  To  make 
I*"ig.  39  is  perhaps  the  easiest  of  them  all,  as  it 
is  formed  of  curves  drawn  with  one  point  of  the 


I'iK.    3^'. 


compass  resting  on  one  corner  of  each  of  the 
smaller  squares  which  are  shown  by  the  dotted 
lines. 

The  three  examples  shown  in  Figs.  40,41,  and 
42  arc  a  litrle  more  tlifficult  to  draw  than  the 
previous  ones.  I'ig,  40  may  be  termed  a  trefoil 
ornament,  as  the   central    divisions  are    drawn 


AnCTTKrrtTnAL   DRAWIVO   SELF  TAUGHT 


50 


from  the  three  points  of  an  equilateral  triangle 
which  ,s  shown  by  the  dotted  lines.     This  style 


of  an  ornament 
is    in    frequent 
"se    in    church 
work  as  the  tri- 
angle   is     sup- 
posed   to    be 
symbolic  of  the 
Trinity.     The 
student  should 
copy  this  often 
enough  so  that 


™ 


I'^ig.  40. 


Jfr'^TiHi-i 


I 


60 


AncniTfxTrnAi-  dhawino  self  tatioht 


he     can    draw    or    describe    it    from    memory 
alone. 

Fi^.  41  is  simple  enough  when  the  principle  is 
understood.      The  circles  inside  are  drawn  from 


IMi;.     41 


six  centers,  or  from  the  six  jjoints  of  a  hexagon. 
Care  must  be  taken  not  to  cross  the  lines  at  the 
intersections  of  the  circles,  when  such  crossings 
are  not  intended.     This  will  give  good  practice. 

I'ig.  42  is  somewhat  complicated,  but  it  is 
surmised  that  no  trouble  will  be  found  in  the 
formation  of  the  ornament;  at  least,  there 
ought  not  to  be,  if  the  student  has  been  mindful 
of  what  lias  gone  before. 

There  are  many  situations  in  which  a  curved 


ARCHITKCTURAL   DRAWING   SELF  TAUGHT  61 

line  is  required  that  calls  for  more  or  less  skill 

to  properly  adjust  to  the  purpose,  and  in  order 

to  arm  the  student  with  the  proper  knowledge 

to  find  centers  for  this  purpose,  the  following 

problem  is  laid  before  him:     Suppose  we  have 

three  points  that  are  not  in  a  straight  line  as 

ABC,    Fig.    43, 

through    which 

we    want    to 

draw  a  portion 

of  a  circle.   Let 

BHCbeachord 

of  the  segment 

H,  and  BJA  a 

chord  enclosing 

t  h  e     segment. 

Bisect  or  divide 

in   equal    parts 

the    chord    BC  ^^'^-  ^^' 

at   II.  and  square  down   from  this  point  to    D 

Do  the  same  with  the  chord  AJB.  squaring  over 

from  J  to  I),  then   the  point  where  JD  and  HD 

intersect  will  be  the  center  of  the  circle. 

This  is  a  very  important  problem,  and  will  be 
found  useful  in  many  ways. 

The  same  result  may  be  obtained  by  the  use 
of  the  con  passes  alone  as  may  be  seen  as  follows: 


•.^i 


If 


im 


Gi 


ARCIIITKCTURAI.    DUAWINO    SELF  TAUOUT 


Suppose  AB,  FJR.  44,  to  be  the  curve,  from  the 
point  A  and  B  strike  ares  of  equal  radius  inter- 


F'g-  41- 

seating  at  c  and  t/,  and  draw  a  line  through  the 
intersections  cutting  the  arc  at  c.     This  line  will 

pass  through  the 
center.  Then  from 
points  c  and  //,  with 
Q  a  rather  shorter  ra- 
dius, strike  arcs  in- 
tersecting at/ and  j^, 
draw  a  line  through 
these  intersections, 
and  where  the  pre- 
vious line  is  cut  will 


Fig.  44. 


be  the  center  as  shown    at   //. 
A  practiced  application  of  this  example  may  be 


«> 


Am  1IITK(TI'HAL    ORAWIVO    .SKLF  TAUGHT  f 

used  on  F.g.  45.  where  it  is  desired  to  round  off 
a  corner  as  shown  at  HAC.  The  center  of  the 
TT/y-z-r^T-^ -.r      ^"""^^  '^  shown  at  O, 


from  which  the  curve 
is  struck, 

I'itr-   4^J  shows   tlie 
methodjustdescribed 
apph'ed     to     three 
strai^^ht    h'nes    form- 
in^r  two  ri^dit  angles 
and  havinj^r  two  adja- 
cent corners  rounded. 
I'JI?-  47  iihows  how 
to  deal  with  two  parallel  lines  that  are  to  be  joined 
tangentiallyby  a  semicircle.  In  this  case  bisect  the 
space  between  tl,e  two  lines  by  a  perpen.Jicular 
line  tha.  must  contain  the  center  of  the  circle  from 


Fig.   4r-. 


r 


Fi 


ig-  4' 


Imjj.  4- 


ImK-  4>i. 


'•''S-  49- 


^vhichthe  equired  circle  isdraun.  Deiermine 
the  extreme  position  -f  rhcrcur.-,  ,,n<i  ,„ark  from 
It.  along  the  center  Ji,.,,  a  distaru  ■•  ..qnal  to  half 
t.ie  distance  between   :!--  hnes.  auM   'his  mark 


ti 


64 


AKClllTLCTUBAL  DRAWING  SELF  TAUGHT 


Xr..: 


PLATK  4. 

This  plate  shows  the  disposition  ot  the  joists 
in  first  and  second  stories,  also  the  position  of 
rafters  and  ridjres  on  the  roof.  These  sketches 
show  the  trimmers  for  fireplace  and  stairs.  The 
manner  of  drawing  is  very  simple  and  should 
offer  no  difficulties  to  the  student. 


4. 

m 


kh 


MICROCOPY   RESOLUTION   TEST   CHART 

(ANSI  and  ISO  TEST  CHART  No.  2) 


1.0 


I.I 


y^  12.8 

1^ 

1^  1^ 

m 

S  us 

BIM 

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1.25  WWWA 


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A  /APPLIED  IM/^GE    Inc 

^K  1653   East    Main   St-eel 

S"*a  Rochester,    New   York         14609       USA 

'•Sa  (/16)    482  -  0300  -  Phone 

^S  ("6)    288  -  5989  -  Fax 


:  W^^^P'!^''-*^^"^*.'^-.  -^^^-It^ay-^fe/ 


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Pl/^teA 


!l 


ARCHITECTURAL   DRAWIXG  SELr"  TAUGHT  6.5 

will  be   the  center  of  the  required  circle.     The 
example  shown  at  Fig.  48  is  a  little  more  diffic   , 
to  deal  with,  as  in  this  figure  the  lines  Which  it  is 
desired    to   join    by   a   curve,    are    not   at   right 
angles.      Therefore      inside    these,    and     at    a 
distance  from  them  equal  to  the  radius  of  the 
curve   which    it    is    desired    to    use,   draw   two 
parallel  lines.     To  do  this,  take  the  radius  in  the 
compasses  and  strike  two  arcs  at  some  distance 
apart  along  the  inside  of  each  line.     Tangent  to 
these  draw  the  two  inner  straight  lines  shown 
dotted,   and    their    intersection    will    give    the 
center  required.     The  exact  points  of  junction 
ot  the  straight  lines  with  the  curve  can  be  found 
by  drawing  perpendiculars  from  the  center  to 
the  straight  lines  by  the  method  shown  on  the 
left  hand  side  of  Fig.  48. 

The  illustration.  Fig.  49.  on  the  left  side,  is 
exactly  similar  to  Fig.  48  with  the  exception  that 
It  represents  a  sharper  angle  than  that  shown  by 
the  angle  or  corner  of  che  previous  example. 

At  Fig.  50  is  shown  a  method  of  joining  a 
curve  to  a  straight  line  by  a  smaller  curve.  In 
this  example,  after  drawing  the  given  straight 
l>ne  and  circle,  set  the  compasses  to  the  required 
radius,  and  from  any  point  in  the  circumference 
of  the   circle   describe   a   short   arc  outside   it. 


^IMfJ^ 


i^o.i:Wt-^ 


m 


ARCHITECTURAL    DRAWING   SELF  TAUOHT 


i 


Fror  the  center  of  the  circle  draw  a  straight  line 
through  this  last  point,  and  its  intersection  with 
the  arc  will  give  the  radius  of  an  arc  concentric 
with  the  large  circle,  which  must  be  drawn 
towards  the  given  line.  Then,  with  the  required 
radius,  again  set  off  arcs  from  the  given  line  to 
give  a  parallel  line,  as  in  Figs.  47  and  48.  The 
intersection  of  this  parallel  line  with  the  larger 
arc  will  give  the  center  to  use  for  the  connecting 


Fig-  50.  Fig.  5,.  Fig.  52. 

curve.  In  every  case  it  will  be  observed  that  the 
perpendicular  line  from  the  center  of  the 
junction  curve  to  the  line,  or  the  line  joining  the 
centers  of  the  two  curves,  will  give  the  exact 
termination  of  the  junction  curve. 

lig.  51  is  practically  the  same  as  Fig.  49  with 
different  radii. 

Fig.  52  shows  two  circles  of  different  size 
joined  by  two  curves  of  equal  radii  set  off  upon 
the  same  principle  as  Figs.  50  and  51. 

Fig.  53  shows  a  straight  line  cutting  a  circle 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  67 

and  joined  by  small  curves  on  the  inside.  Afr.r 
drawing  the  circle  and  straight  line,  take  the 
required  radius  of  connecting  curve  and  draw  a 
short  arc  on  ihe  insi<le  of  large  ,urve-say,  on 
the  center  line-and  from  the  main  center  draw 
an  arc  concentric  with  the  large  circle,  but  inside 
>t.  Then,  with  the  required  radius,  obtain  a  line 
parallel  to  the  given  line,  and  the  intersection^ 


:y■'^C'■^} 


Fig-  51- 


•^r.  lij L. 


Fig.  54- 


Of  this  parallel  line  with  the  large  arc  will  give 
the  centers  for  the  connecting  curves. 

F.g.  54  shows  two  given  parallel  straight  lines 
which  are  to  be  joined  by  an  ogee  or  reversed 
curve.  Select  a  point  on  one  of  the  lines  from 
which  the  curves  may  start,  draw  a  horizontal 
line  and  also  an  inclined  line,  making  an  angle 
of  6c  degrees  with  it.     The  latter  line  produced 


to 


cut  the  other  given  straight  line  will  mark 


termination  of  th 


th( 


1 


ine,  and  it  will  give  th 


e  curves.     Hjsect  this 


mciincd 


e  j  mction  point  betwe 


he  two  curves.     Bisect  each  half  of  the  inchned 
Ime   and   produce    the    bisection    to   meet   the 


68 


ARCIIITK/TURAL   DRAWING   9KLF  TAtTOHT 


horizontal  lines,  to  jrive  the  centers  for  the 
curves.  Before  drawing  the  curves,  join  these 
centers,  to  see  that  a  straight  line  will  pass 
exactly  through  the  junction  of  the  two  curves, 
and  then  put  in  the  curves  with  a  radius  equal 
to  half  the  length  of  the  inclined  line.  This  is 
a  very  useful  curve,  and  is  similar  to  those  used 
for  cross-over  roads  on  railways.  In  architecture 
the  best  curves  are  produced  from  conic  sections 
or  freehand.  Circular  curves  have  a  harsh 
appearance.  There  are  nevertheless,  many 
cases  where  they  are  necessary  or  desirable. 

The  draftsman  will  often  be  called  upon  to 
describe  mouldings  of  various  kinds,  and  it  is 
proper  he  should  know  how  to  form  these  so 
that  they  may  accord  with  the  style  for  which 
they   are    intended      ••'•  ther    this    be    Greek, 

Poman,  or  otherwise. 

1 — '  Tpo  following  exam- 

i.-.j.^  pi  js  are  old,  but  are 
;  of  a    kind  that   will 


Fig.  55. 


always  be  in  vogue 
and  it  is  but  fitting 
the     young    student 

and  workman   should  know  how  to  draw  them 

correctly. 
The  example  shown  at  F"ig.  55  is  a  Scotia  or 


.■.^M.fm 


ARCllITECTUKAL   nnvWlNG   SKLF  TAUOIir 


m 


Fig.  56. 


cove  and  is  drawn  as  follows:  Divide  <i,  b  into 
three  equal  parts;  with  r  as  a  center  and  the 
radius  c,  a,  describe  the  semi-circle  c,  a,  iL  Then 
with  f/  as  a  center 

and  d,  e  as  radius,    ^"i  =^4^--— ^tf 

describe  the  quad- 
rant r,  b,  then  a,  c, 
b,  will  form  the  line 
of  moulding. 

F"ig.  56  shows  an- 
other method  of 
getting  a  deeper  moulding.  Let  a,  a,  be  the  upper 
line  and  c,  c,  the  lower;  from  a,  drop  a  perpendic- 
ular to  c;  divide  a,  c,  into  seven  equal  parts; 
throuqrh  the  third  of  these,  from  a,  draw  a  W. 

parallel  to  a,  a; 
from  /;,  with  b,  a, 
draw  the  semicir- 
cle b,  d,  and  from 
d,  draw  to  c,  per- 
pendicular to  b,  d ; 
produce  a,  a,  to  r; 
from  (\  as  a  center, 
r,  with  e,  in,  as  radius,  describe  part  of  a  cin'- 
to  n. 

Fig.  57  shows  an  "echinus,"  or  "ovolo."     This 
is  one  of  the  most  useful  of  mouldings,  and  was 


"I  T.:"».iioa' 


AnrmTF.fTrnAi,  dhawivo  sklf  TAronr 

employed  larjrely  by  the  (Greeks  in  many 
posiiions.  Let  d,  h  be  the  two  points;  join  them 
by  a  line  a,  b\  divide  this  into  seven  equal  parts; 
from  /;,  with  b,  i,  and  from  a,  with  1h  same 
radius,  describe  arcb  cutting  in  c\  from  c,  with 
c,  ix,  describe  the  arc  a,  b.  Another  method  of 
describing  an  ovolo  is  shown  at  Fig.  58.  Let  a, 
b,  and  c,  d,  be  the  two  horizontal  lines  of  the 

figure.  Divide  b,  d, 
into  four  equal  parts; 
make  d,  e,  equal  three 
of  these;  draw  e,  /; 
then  with  any  radius 
greater  than  half  of 
(f,  /,  with  d,  and  /  as 
c<mters  respectively, 
describe  the  arc,  cutting  ^t  g,  from  which,  as  a 
center,     'srribe  the  arc,  0     '. 

At  Fig.  59  I  show  a  moulding  called  a 
"quirked  ovolo."  The  projection  in  this  case  is 
made  equal  to  five-sevenths  of  its  height,  as  seen 
by  the  divisions,  and  the  radius  of  the  circle  b, 
c,  is  made  equal  to  two  of  the  divisions,  but 
other  proportions  may  be  taken.  Describe  the 
circle  b,  c,  forming  the  upper  part  of  .ne  contour, 
and  from  the  point  .^,  draw  g,  h,  to  f  rm  a 
tangent  to  the  lower  part  of  the  curve-     Draw 


"^-.^ 


ARCHITErTirRAL   DRAWIXO  HKKF  TAr«IIT  Ti 

r.  a    perpendicularly  to  ^.   /,.  and    make  ,.    / 
equal  to  the  radius  ./...of  the  circle  A.:  join/ 


'/.  by  a  straight  line,  wliici,  bisect  by  a  line  per- 
pendicular ,0  it,  meeting ^•,  „,  in  «;  join  „. ,/.  and 


Fig.  60. 

produce  the  line  to  c:     Then  from  .7 
with  the  radius  a,  c,  or  a,  g,  describe  the      ^ve 
Fig.  60  is  a  method  where  the  t 


LUHK 


a  center, 


'''^^.^V^*!^" 


n 


AIUIHTKCTL'H.VL    DnAWINO   M,     y  TATOIIT 


and  the  projection-  arc  jrjven.  Throu^rli  the 
point  of  extreme  projection  /;,  draw  the  vertical 
line  X'.  //.  and  throuj^h  fi,  dr.nv  /;,  <.  paralhl  to  x^ 
//,  and  produce  it  to  ti,  making'  r.  n,  rquii]  to  r,  t/. 
Divide  f.  h,  and  c,  l>,  each  into  the  sarn<;  number 


Fig.  6i. 


of  equal  parts,  ana  through  the  points  of  divii  i 
in  I,  h,  draw  from  a,  straight  lines,  and  through 
the  points  of  division  in  i\  b,  draw  from  d,  right 
lines,  cutting  those  drawn  from  a.  The  inter- 
sections will  be  the  points  through  which  the 
curve  is  traced. 

In  Fig.  6i  I  exhibit  a  method  of  describing  the 


AHcnnrATviuL  i.uawino  hfxk  TAvom  ?:, 

-  vi.rcian  Uonc  capita, 
he  tangent  ..  ..  ar     ...o^  ..tic  .  /.  bein«  ^iven 
^^raw  ./...,./,,.  p,rpe:   i.cuhr  to  th.  horizon 
and  <lrnw  ,.  /,  and  .,/  at  ri;,hr  an,,lcs  to  ./.  ..  ^. 
/',«.   Makex-.«  equal  ^ 

to  ^,  //,  and  r,  >6  ecual 
to  ^/,  c-  .,  //,  /..  iji. 
vide//.  '  id/ /nnto 
the  same  number  of 
parts,  and  draw  lines 


Fig.  61. 


from  a,  through  tht 
divisions  of  Jk,  A,  and 
lines  from  ^  through  the  divisions  of  /  /,.  and 
their  mtersections  are  points  in  the  curve 
.  In  Pi^rs.  62  and  6.3  I  show  a  cove  or  "cavetto" 

mould.  To  de- 
scribe it  let  aS, 
<^<^^  Fig.  63,  be 
the  lines  at  top 
and     bottom 


Fig.  63. 


|«if>t*...j^''     From  b,  draw  to 


d,  perpendicular 
.  ,.       .  .  toa,^;  divided 

mto  three  equal  parts;  from  d,  lay  on  dc  to  . 
equa  to  two  of  these  parts;  join  te,  from  .  and 
b,  with  radius  greater  :han  half  eb,  draw  arcs 
cutting  in/;  from/  v  .h  /  b,  draw  the  arc  be 


If 


74 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


■I' 


1 


i 


Fig.  64. 


c^""^"-*"^' 


Another  method  of  describing  this  moulding  is 
shown   at  Fig.  64.  a/;  and  cc/.  are  the  two  h^nes 
divide  the  perpendicular  into  five  equal  parts,' 

make  de  equal  to 
'     \d     five  of  these  and 
proceed  as  in  the 
last  example. 

The  next  exam- 
ple   is    the    Q';ua 
recta    moulding. 
This  is  considered 
the  most  beautiful  of  mouldings;  and  this  figure 
IS  the  simplest  form,  and  is  easily  described;  ab, 
and  cd,  T  ,g.  65,  are  top  and  bottom  lines  of' the' 
moulding,  /..  the  height  and  ./.  the  projection 
l>ivide  the  line  d, 
id^nl)   into   twelve 
equal    parts;    take 
six  of  these  parts 
as    radius,    with    /; 
and   6  as   centers, 
describe    the   arcs 

£,  with  8  as  a  center,  and  the  same  radius 
describe  the  arc  67^,  then  with  i  and  6  as  centers 
describe  the  arcs  at  h,  with  h  as  a  center,  describe 
the  arc  d,  6. 

Fig.  66  shows    a  cywa  recta  formed   by   two 


i^msf^ 


ARCHITECTOHAL   DRAWING  SKIP  TAUGHT  ^ 

opposite  curves,  shown  by  the  use  of  ordinates. 
By  takmg  a  greater  number  of  points  than 
shown,  as  centers,  the  figure  will  resemble  an 
elhpfcal  curve.  The  manner  of  drawing  the 
curves  ,s  shown  on  the  diagram  and  may  be 
easily  followed.  ^ 


Fig.  66. 


ell  Ptical    quadrants.     These    curves    may    be 
obtained  by  following  the  lines  in  the  diagram 
eliotlT        '''  ""'"'''^  ^'^^"  f-  "■'^'ning 
dec   bedb"?-     """^   '"°"'*"S  ""    best  be 

i  Will  describe  later  on-  r.r   ^u„ 

«k«.  •      ,  ,  '  °^   *^"^  curve  mav  be 

obtained  by  the  use  nf  t\.^     w  , 

in  Fig.  i8.  ellipsograph,  shown 


■u'lxVffr.riT 


70 


ARCHITF-OTURAL    DRAWING   SELF   TAUGHT 


I 


These  examples  will  fully  suffice  to  give  the 
learner  good  practice  on  circular  curves,  as  by  a 
combination  of  these,  nearly  every  form  of 
moulding  may  be  made.  A  few  words  on 
elliptical  and  some  of  the  higher  curves  may 
not  be  amiss,  but  I  do  not  think  it  wise  to  over- 


Fig.  67. 
burden  this  work  with  examples  and  instructions 
that    the  ordinary  draftsman  or  workman  may 
never  be  called  upon  to  make  use  of. 

One  of  the  simplest  methods  of  forming  an 
e  iipse  is  by  the  aid  of  two  pins,  a  string  and  a 
lead  pencil  as  shown  at  Fig.  68.  Suppose  F  B 
to  be  the  major  or  longest  axis,  or  diameter,  and 
D  C  the  minor  or  shorter  axis  or  diameter,  and 
E  and  K  the  two  foci.     These  two  points  are 


ARCIIITEfTUHAL    DH.UVIXCJ    SKLK  TAUGHT 


77 


obtained  by  taking  the  half  of  the  major  axis  A 
B  or  F  A  on  the  compasses,  and,  standing  one 
point  at  D,  cut  the  points  E  and  K  on  the  line  F 
B,  and  at  these  points  insert  the  pins  at  E  and 
K  as  shown.  Take  a  string  as  shown  by  the 
dotted  lines  and  tie  to  the  pins  at  K,  then  stand 


the  pencil  at  C  and  run  the  string  round  it  and 
carry  the  string  to  the  pin  E,  holding  it  tight 
and  winding  it  once  or  twice  round  the  pin,  and 
then  holding  the  string  with  the  finger.  Run 
the  pencil  around,  keeping  the  loop  of  the  string 
on  the  pencil,  and  it  will  guide  the  latter  in  the 
formation  of  the  curve  as  shown.  When  one- 
half  of  the  ellipse  is  formed,  the  string  may  be 
used  for  the  other  half,  commencing  the  curve 
at  F  or  B,  as  the  case  may  be.     This  is  commonly 


'--"aiMi   >,-   J  i.    i  nA. 


78 


!■       j 


AHCHITECTURAL   DRAWING   SELF  TAUGHT 


called  "a  gardener's  oval,"  because  gardeners 
make  use  of  it  for  forming  ornamental  beds  for 
flowers,  or  in  making  curves  for  walks,  etc.,  etc 
This  method  of  forming  the  curve  is  based  on 
the  well-known  property  of  the  ellipse  that  the 
sum  of  any  two  lines  drawn  from  the  foci  to 
their  cirv^umference  is  the  same. 

The    illustration   shown  at    Fig.   69  sh^ws  a 
trammel  and  the  method  of  using  it  which  is 

very  simple.  The  in- 
strument consists  of 
two  principal  parts, 
Q  the  fixed  part  in  the 
form  of  a  cross  as 
C  D,  A  B,  and  the 
movable  tracer  H  G. 
The  fixed  pit'^e  is 
made  of  two  triangular  bars  or  pieces  of  wood 
of  equal  thickness,  joined  together  so  as  to 
be  in  the  same  plane.  On  one  side  of  the 
frame  when  made,  is  a  groove  forming  a 
right-angled  cross;  the  groove  is  shown.  In 
this  groove,  two  studs  are  fitted  to  slide 
easily.  These  studs  are  to  carry  the  tracer  and 
guide  it  on  proper  lines.  The  tracer  may  have 
a  sliding  stud  on  the  end  to  carry  a  lead-pencil, 
or  it  may  have  a  number  of  small  holes  passed 


Fig.  69. 


rMf^mmum. 


ARCHITECTUHAL    DHAWIXG   SE^F  TAUGHT  79 

through    it,  as   shown   in    the  cut,  to  carry  the 
pencil.     To  draw  an  ellipse  wiih  this  iristrument, 
we  measure  off  half  the  distance  of  the  major 
axis  from  the  pencil  to  the  stud  G,  and  half  the 
minor  axis  from  the  penc'i  point  to  the  stud  K, 
then  swing  the  tracer  round,  and  the  pencil  will 
describe  the  ellipse  required.     The  studs  have 
little  projections  on  thjir  tops,  that  fit  easily  into 
the  holes  in  the  tracer,  but  this  may  be   done 
away    with,     and    two 
brad-awls  or  pins  may 
be  thrjst   through   the 
tracer     and     into     the 
studs,  and  then  proceed 
with    tl;e  work.      With 
this  instrument   an   el- 
lipse may  easily  I  t  de- 
scribed. 

A  figure  that  approximates  an  ellipse  may  be 
described  by  the  compasses,  and  it  is  well  for 
the  draftsman  to  acquaint  himself  with  the 
manner  ir  ^vhich  this  is  done,  and  to  this  end  I 
submit  pe  .ps  the  most  useful  metnod  for  this 
purpose.  Let  us  describe  the  oval  shown  at 
Fig.  70.  Lay  off  the  length  C  D.  and  at  right 
angles  to  it  and  bisecting  it  lay  off  the  width  A 
B.     On  the  larger  diameter  lay  off  a  space  equal 


i.l^f 


If 


80 


ARCIHTECTUIiAL  DHAWINO  SELF  TAUGHT 


PLATE  5. 

This  elevation  shows  the  front  and  side  eleva- 
tion of  the  cottage  in  finished  order.  Two  styles 
of  drawing  are  shown,  the  one  being  in  plain  line 
and  the  other  shaded.  I  would  not  advise  the 
student  to  attempt  shading  until  such  time  as  iie 
feels  assured  he  can  make  a  presentable  piece 
of  work.  Of  course,  I  mean,  he  should  not 
attempt  to  shade  any  drawings  for  exhibition 
until  he  has  had  good  practice  on  preliminary 
work.     This  plr  e  is  a  very  good  one  to  copy. 


t 


*» 


h    i 


I    < 


=   Platf3. 


^^f^r      ^^/o     ^^0^ 


■hi 


I 


5iO(?  feLSV|<\riof{5 


;  !■ 


i 


'•  i 


III 
?1  i 


...  k^ww^'^-mi  ^'^:^.r^r^'M^-im 


ARCHITKf    URAL   DIIAWI.VO   SELF  TAITOMT 


81 


to  the  shorter  diameter  or  width,  as  shown  by  D 
E.     Divide  the  remainder  of  th.  '.-ngth  or  larger 
diameter  E  C  into  three  equal  parts;  with  two 
of  these  parts  as  a  radius,  and  R  as  a  center 
stnke    the    circle    (;SFT.     Then,  with   V  as   a 
center  and  F  G  as  a  radius,  and  G  as  a  center 
and  G  I  as  radius   strike   the   arcs   as   sh' 
intersecting    each   other  and   cutting    the   . 
drawn  through  the  shorter  diameter  at  O  . 
P  respectively.      From  O.  through    the   po^ 
G  and  F,  draw  OL  and  OM,  and  likewise  f- 
P  through  the  same  points  draw  PK  and 
With  O  as  center  and  OA  as  radius,  strike     iie 
arc  LM,  and  with   P  as  center  and  with     ,ke 
radius,  or  PB  which  is  the  same,  strike  th. 
KN.    With  F  and  G  as  centers,  and  with  F  1  >  ano 
C  G    which  are  the  same,   for  radii,  str,        th. 
arcs  NM  and  K  L  respectively,  thus  comp.eting 
the  figure. 

The  oval  is  not  an  ellipse,  nor  are  any  of  the 
figures  obtained  by  using  the  compasses,  as  no 
part  of  an  ellipse  is  a  circle,  though  it  may 
approach  closely  to  it.  The  oval  may  sometimes 
be  useful  to  the  draftsman,  and  it  may  be  well  to 
Illustrate  one  or  two  methods  by  which  this 
figure  may  be  described. 

Let  us  describe  a  diamond  or  lozenge-shaped 


II 


tli 


M  AHCIIITWTURAL   OKAWINO   SKLK  TAUOHT 

figure,  such  as  shown  at  Fig.  71.  and  then  trace 
a  curve  insid.-  of  it  as  shown,  touching  the  four 
sides  of  the  n^rure,  and  a  beautiful  egg-shaped 
curve  will  he  formed.  I'or  effect  we  may 
elongate  the  lozenge  or  shorten  it  at  will, 
placing  the  shorter  diameter  at  any  point. 


1 1 

II 


11 


Fig.  71. 


An  egg-shaped  oval  may  also  be  inscribed  in 
a  figure  having  two  unequal  but  parallel  sid-s, 
both  of  which  are  bisected  by  the  same  line,' 
perpendicular  to  both  as  shown  in  Fig.  72! 
Thc:.e  few  examples  are  quite  sufficient  to  satisfy 
the  requirements  of  tlu-  ordinary  draftsman,  as 
they  give  the  key  by  which  he  may  construct 
any  oval  he  may  ever  be  called  upon  to  form. 


Am  IIITKtTlHAL    DHAWIXO  8KLK  TAUOIIT  88 

Scrolls  often  have  to  be  drawn  by  draftsmen 
and  these  may  be  obtained,  more  or  less 
accurately  by  various  methods.  One  method 
employed,  is  by  making?  use  of  two  lead  pencils 
well  sharpened  and  arranjred  as  shown  in  I-ig. 
7}-  A  piece  of  strin,^  is  tied  tightly  around  one 
of  the  pencds  and  wouml  around  the  conical  end 
as  shown,  while  the  po?-  of  the  second  pencil 


r^^ 


Fitf.  72. 


I-^'g-  73. 


either  pierces  the  string  or  the  string  is  looped 
to  hold  the  pencil,  near  the  other  pencil,  which 
leaves  the  arrangement    ready  for  work.      To 
draw  the  scroll  the  pencils  must  be  kept  vertical 
the  point  of  the  first  kept  firmly  in  the  hole  or 
center  of  the  figure,  and  the  second  pencil  must 
then  be  carried  around  the  first,  with  the  mark- 
ing  point   held   in   touch   with    the    paper,   the 
distance  between  the  two  increasing  regularly  as 
the  stnng  unwinds. 

This  is  a  rough-and-ready  means  of  drawing  a 


ip-m 


.--;.</ 


84 


ARCHITECTURAL   DRAWIXG   SELF  TAUGHT 


scroll,   but   it   has   the   quality  of    being  fairly 
correct. 

Another  similar  method  is  shown  in  Fig.  74, 
only  in  this  case  the  string  unwinds  from  a  spool 
on  a  fixed  center  A,  D,  B.     Make  loop  E  in  the 
end  of  the  thread,  in 
which  place  a  pencil 
as  shown.    Hold  the 
spool  firmly  and  move 
the     pencil     around 
i  t ,    unwinding   the 
thread.    A  curve  will 
be      described,      as 
shown   in    the   lines. 
It  is  evident  that  the 
proportions    of    the 
figureare  determined 
by  the  size  of  the   spool.     Hence  a   larger   or 
smaller  spool   is   to   be   used,   as  circumstances 
require. 

A  simple  method  of  forming  a  figure  that 
corresponds  to  the  spiral  somewhat  is  shown  in 
Fig.  75.  This  is  drawn  from  two  centers  only,  a 
and  e,  and  if  the  distance  between  these  centers 
is  not  too  great,  a  fairly  smooth  appearance  will 
be  given  to  the  figure.  The  method  of  describ- 
ing is  simple.     Take  ai  as  radius  and  describe 


Fig-  74. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


85 


a  semicircle;  then  take  ei  and  describe  semi- 
circle 12  on  the  lower  side  of  the  line  AB.  Then 
with  32  as  radius  describe  semicircle  below  the 
line  AB;  lastly  with  33  as  radius  describe  semi- 
circle above  the  line  and  the  figure  is  complete. 
These  examples,  and  what  may  be  'jduced 
from  them,  will  be  quite  enough  to  satisfy  the 
requirements  of  the  draftsman  who  does  not 
intend  to  follow  this  art  further  than  as  an  aid 


to  his  profession  as  a  builder  and  workman,  so 
now  I  will  offer  a  few  pages  on  straight  line 
work. 

LINE    WORK 

In  previous  pages  I  gave  a  few  suggestions 
regarding  line  work  done  with  the  ruling  pen, 
and  I  now  supplement  them  by  submitting  the 
following  examples  numbered  from  Fig.  76  to 
78  inclusive,  which    the    student    is  advised  to 


|: 


1 

' 

j 

I 

lIt  v'jfixamatiisa 

86 


ARCIIITKCTURAL   DRAWING   SELF  TAUGHT 


draw  and  redraw,  fjrst  by  measuring  off  the 
distances,  and  then  by  attempting  to  get  the 
exact  distances  without  measurement.  If  the 
hnes  in  the  examples  are  placed  less  than  one- 
sixteenth  of  an  inch  apart,  they  will  appear,  at  a 
little  distance,  like  an  even  tint  of  shading,  and 
the  closer  they  are  the  more  difficult  will  it  be 
to  get  the  appearance  quite  uniform,  but  this 


Fig.  76. 


Fig-  77- 


Fig.  78. 


kind  of  work  makes  excellent  practice  for  the 
pen. 

These  examples  are  selected  from  a  large 
number  of  possible  combinations,  as  giving 
variety  of  practice  uiule  not  appearing  too 
difficult.  They  are,  however,  more  difficult 
than  they  appear,  so  that  they  must  be  com- 
menced with  the  determination  to  produce  very 
neat  and  accurate  drawings. 

After  drawing  the  border  line  in  pencil,  }(  in. 
from  each  edge  of  the  paper,  find  by  measure- 
ment the  center  of  the  paper,  so  that  the  second 


ARCHITECTURAL    DRAWING   SRLP  TAUGHT  87 

square,  Fig.  -jt,  may  be  placed   in  the  middle 
rule   a   horizontal   line    for    the  square  to  rest 
upon,  draw  the  middle  one  in  outline  first  and 
then  the  others,  each  measuring  3  in.  along  one 
side.     The  spaces  between  the  border  line  and 
each  of  the  squares  should    be  equal.     In  the 
upper  half  of  the  first  square.  Fig.  76.  mark  off 
equal  divisions  of  %   in.  each,  and  draw  hori- 
zontal hnes;    then,  in  the  lower  half,  mark  off 
simdar  distances  and  draw  vertical    lines       In 
the  second  square.  Fig.  76.  equal  distances  must 
be  set  off  from  each  of  the  sides,  and  parallel 
lines  drawn,  so  as  to  make  a  number  of  com- 
plete squares.     These  should   be  drawn  with  a 
fine  chisel-pointed  pencil,  and    then  tested    by 
drawmg  diagonal    lines    from  opposite  corne-s 
If  the  squares  have  been  correctly  set  out,  all  the 
angles  will  be  upon  one  or  other  of  the  diagonal 
Imes.     In  the   third   square.   Fig.   78,   the  inner 
squares  are  drawn  with  their  angles  tangent  to 
the  sides  of  tne  one  next  larger.     If  very  fine 
pencil  lines  are  drawn  across  opposite  angles  of 
the  c  Iter  square,   and    then    two    other    lines 
bisecting  the  sides,  it  will  be  found  easy  to  join 
up  the  mner  squares  to  the  points  so  found. 
^    After  the  squares  are  completed  in  pencil,  fill 
in  or  Ime  over  with  the  ruling  pen  and  ink. 


;9i 


;    ! 


88 


ARCHITECTURAL   DRAWING   SELF  TAtOHT 


Fig.  79. 


The    set   of    lines   shown    at    Fig.   79  are  of 

different  strength  or  breadth,  all  of  which,  may 

__^_____________^^____^^      be  drawn  by  a  skil- 

^B==^=^=:^=s»s:=B      ful  use  of  the  pen. 

■^■^■■^■i^BMHnBi^iiMaBB      ^"  Simple  work  of 

this  kind  the  lines 
ne  d  not  be  pen- 
ciled only  perhaps, 
to  define  the  limits 
of  the  lines. 

Fig.    80    gives 
practice    in    draw- 
ing dotted  lines. 
Such    lines    are 

necessary  in  all  kinds  of  working  drawings.  The 

more     important 

ones  should  be  first 

drawn  with  peucil. 
These    methods 

of  lining  should  be 

practiced  until  the 

student  can  make 

them     clear      and 

clean  without  much 

effort.     The    illus- 
tration   shown    at  ^'&  ^o- 

Fig.   81    exhibits   a   method   of    cross   lines,   in 


m^^^ 


^^m 


dk.. 


ARrHlTECTt'KAL   DRAWING   SELF  TAUGHT  89 

making  of  /hich  the  student  must  be  careful 
and  .ee  that  one  set  of  lines  are  perfectly  dry 
berore  being  crossed  by  the  others.  It  is  well 
to  try  the  pen  upon  a  separate  piece  cf  paper 
before  applying  it  to  the  drawing. 

Where     the 
drawings      are 
complex  or  very 
particular,    they 
should      always 
be  made  first  in 
pencil  and  inked 
in      afterwards; 
then,  if  any  cor- 
rections are  nec- 
essary, they  may 
be  made  before 


i       "T- 

:::t:~'"-'t-i 

1  t 

--.-.:.:"■ 

"~~ 

"~ 

■"" 

1    "I — 

- 

1  '  '"■" 

^H 

±\\  UN 

i 

■hiiiiiiirTTTI  1  1 

B 

Fig.  8i. 


the  inkmg  is    done,   and   the    superficial    lines 
can  be  taken  out  by  erasing  them.     To  erase 
strong    pencil    marks    requires     hard    rubbing, 
which  destroys  the  surfac.  of   the  paper.     Be 
careful  in  making  pencil  lines  and  do  not  get  in 
"^ore  than  are  wanted,  as  confusion  in  inking  is 
sure  to  follow  if  too  many  lines  are  in  evidence. 
1  he  pending  being  done,  the  drawing  may  be 
jnked    in.    but    before    starting    the    following 
instructions  must  be  considered.     The  drawing 


vH 


■in 


I 


h4 

m 


;1^ 


JO 


ARCHITECTURAL  DRAWIXO  SELF  TAUGHT 


pen  is  filled  by  dropping  the  ink  between  the 
nibs  while  hekl  in  a  nearly  vertical  position,  as 
before  stated.  The  pen  can  be  used  with  a 
straight  edge  ruler;  the  taper  to  the  point  is 
sufficient  to  throw  it  far  enough  away  from  the 
edge  to  prevent  blotting  if  care  is  taken.  The 
breadth  of  the  line  is  regulated  by  adjusting  the 
screw.     If  the  pen  is  not  in  use,  even  for  a  short 

time,   be    sure    to 
take   out    the    ink 
with  a  blotter  and 
dry  the  pen    thor- 
oughly.    The  nibs 
should  be  kept  per- 
fectly   bright    and 
clean.     The  liquid 
India     ink     which 
comes  in  bottles  is 
nowgenerallyused. 
This  much  being  thoroughly  understood,  I  will 
now  try  and  giv^e  a  few  hints  as  to  the  proper 
method  of  using  the  drawing  pen.     Fig.  82  shows 
the  method  of  holding  the  pen.     The  pen  is  held 
between   the   thumb    and    two    forefingers,  and 
carrierl  along  the  ruler  from  left  to  right,  with 
the  flat  blades  always  parallel  to  the  direction 
of  the  line;    otherwise  the   pen  will   either  be 


iimmmiiaMmmmwmi'ir  ^ 


Fig.  82 


ABCHlTECTtinAL  DBaWIXO  SELF  TAtlGI...  9) 

running  on  the  edge  of  the  blade  only,  or  in  such 
a  position  that  the  ink  cannot  flow  freely  from 
us  pomts.  The  result  in  either  case  would  be  a 
broken  or  ragged  line,  a  condition  to  be  a^  oided, 
or  a  bad  drawing  will  result. 

In  marking  off  dimensions  on  a  drawing  a 
system  of  rough  lines  is  generally  adopted  which 
■s  dlustrated  at  Fig.  83,  when  a  dimension  is 
shown  gu.ding  the  sight    from   arrow-point   to 

i- ■■■■■■  ■■■■.,■::::', 

Pig.  83. 

arrow-point.      These    lines    should    consist    of 
strokes  not  more  than  one-sixteenth  of  an  inch 
long  and  should  have  not  Uss  than  a  quarter  of 
an  mch  space  between  f.em.    It  will  be  worth 
whde  to   measure    these    distances   for  a    few 
tm,es  at  first  when  drawin,  them  so  as  to  get 
mto  the  practice  of  getting  them  about  right 
though  ,„  a  very  short  time  the  draftsman  will' 
be  able  to  str.ke  the  distances  near  enough       h- 
out  measuring.     When  making  'Inishe,.  draw- 
ings m  practice,  it  is  found  best,  when  inking  in 

It  Z  'Tu'^!'''  "'  """  '"''  ""-  '-"'-W 

at  the  ends  by  black  arrow-heads 
When  it  is  desired  to  show  the  interior  con- 


11    r'll 


0« 


AHriiiTrcrritM,  nuvwivr.  self  TAi'aiiT 


I 


<: 


struction  of  any  object,  an  imaginary  cut  is  made 
through  it,  and  the  representation  of  the  cut 
surface  is  called  a  s'.ction.  The  direction  of  the 
cut  is  marked  upon  the  orijrinal  drawing  by  a 

I'iii.  ."4. 

line  of  section,  formed  of  strokes  and  dots  placed 
alternately,  with  a  letter  at  each  end,  as  A  B 
upon  Fig.  84.  This  line  is  usually  in  red  ink, 
but  as  all  the  work  in  the  present  lessons  is 
black  and  white,  this  dotted  section  line  may  be 
made  the  same  as  the  other  lines. 

The  mode  of  marking  off  distances  between 
two   points   is   shown    at    Fig.    8s,    where    the 


-    6'.  AV{  . 


Fig.  85. 


■> 


arrow-heads  mark  the  limitation;  that  is,  the 
distance  between  the  lines  which  are  touched  by 
the  points  of  the  arrows,  is  6  feet  four  and  a 
half  inches.  This  is  marked  off  regardless  of 
scale,  and  the  method  will  be  found  useful  when 
roughing  out  a  house  plan,  elevation,  or  other 
similar  work,  as  the  dimensions  of  rooms,  sizes 


AnniiTKcTunAL  dhawixg  hi:lf  t.vigiit 


93 


of  windows  and  doors,  hei^dits  of  ccilinfrs.  and 
all  other  dinu.nsions  can  be  ^riven  without  draw- 
in^r  to  scale.  I  will  have  more  to  say  of  this 
later  on. 

THK    I.KAD    I'KNCII, 

So  far  I  have  said  but  little  re^rardin^r  the  lead 
pencil,  which  is  a  very  important   factor  in  the 


Fig.  86.  Fij,    8,. 

draftsman's  hands.     As  before  stated,  all  draw- 
ings of  any  importance  should  first  be  made  in 
pencil;  and  a  hard  pencil  should  be  used  for  the 
purpose;  in   fact,  there  should   be  two  pencils, 
one  of  which  should  be  pointed  similar  to  those 
shown    at    Fig.    86,    and    the    other   should   be 
sharpened  with  a  chisel-point  similar   to  those 
shown  at  Fig.  87.     These  two  illustrations.  Figs. 
86  and  Sy,  show   two    methods   of  si,.    pening, 
either  of  which   will  answer  the  purpose  quite 
well. 


lit 

■  W4 


04 


AUrillTWTrU.VL    DHAWINO   SELF  TAUGHT 


The  pencil  should  be  used  solely  at  first  for 
practicing,  and  the  moi  xpensive  drawing 
pencils  are  often  the  most  economical  to  use  in 
drawing.  There  are  many  well-known  makes 
that  may  be  depended  upon  to  work  smoothly 
and  evenly  without  grittiness  or  inequality  of 
texture.  The  number  of  H's  marked  upon  the 
pencil  indicates  its  relative  hardness.  For 
general  use  those  marked  H  or  HH  will  be 
suitable,  while  for  particuln.rly  fine  work 
HliHHHH  may  be  necessary.  For  roughly 
sketching  details  on  a  large  scale,  a  very  soft 
lead,  such  as  BBB,  will  be  found  pleasantest  to 
work  with.  Pencils  of  unvarnished  cedar  are  to 
be  preferred,  and  those  of  a  hexagonal  section 
do  not  roll  off  the  sloping  surface  of  the  draw- 
ing-board or  desk. 

Almost  the  first  lesson  for  a  draftsman  is  how 
to  properly  sharpen  a  pencil,  which  is  not  easy 
for  the  beginner  to  accomplish  satisfactorily.  A 
pencil  point  should  be  well  sharpened  so  that 
when  the  pencil  is  passing  along  the  edge  of  the 
square  it  should  be  c'ose  against  it;  and  in 
ordinary  drawing  or  tracinfj,  a  clear  view  should 
be  obtained  completely  around  it  on  the  paper. 

A  ijund  point  wears  away  very  rapidly,  and 
will  hardly  make  even  one  fine  line,  whereas  if 


AKflllTKCTrUAL    Ult.VWIXO   MF,I-F  TM'OIIT 


9> 


the  edge  be  kept  the  full  thickness  of  the  lead 
in  the  direction  of  the  line  the  pencil  will  last 
very  much  lonj^er  and  produce  better  work;  the 
flat  faces  of  the  lead  i)oint  may  be  slij^ditly 
rounded. 

If  properly  sharpened,  one  operation  of  the 
knife  on  the  wood  will  be  sufficient  to  allow  of 
several  re-sharpeninj^s  of  the  lead,  whilst  a 
badly-sharpened  point  requires  further  hacking 


Fig.  8S, 


Fig.  89. 


of  the  wood  every  time  the  lead  is  slightly  worn. 
Fig.  88  shows  the  T-square  and  pencil  with 
the  two  hands  in  position  for  drawing  an 
ordinary  horizontal  line;.  The  pencil  should  be 
upright  when  looking  in  the  lengthways  direction 
of  the  line,  and  sloping  about  five  degrees  from 
the  upright  in  the  direction  in  which  it  is  l)eing 
drawn,  as  would  be  seen  at  right  angles  to  the 
line,  and  in  Fig.  89  the  method  of  holding  the 
pencil  for  freehand  or  tracing  work  is  shown. 
This  is  on   a  larger  scale  in   onlcr  to  sliow  the 


r1 


ill 


■f 


I' 


I  i  i 

M 


00 


AltClllTECTURAL   DHAWIXO   8KLF  TAIOIIT 


-*l 


PLATE  6. 

This  plate  shows  the  draftsman  how  to  prepare 
details  so  that  they  may  be  followed  by  the  actual 
workman.  This  shows  some  details  of  the 
porch,  giving  the  construction  of  cornice  and 
other  work. 

This  Is  shown  here  to  a  scale  of  one  quarter 
of  an  inch  to  the  foot.  It  represents,  of  course, 
a  portion  of  the  cottage. 


i'*,' 


., ,, 


?!«J5!iS_ 


Plati 


WIf 


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v35i:^x;::;SSS3^^ 


D  ENTAIL. 


oi~  Porch 


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Plate.Io, 


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.J44JL      .A.  J.,l^"WiPP^«P"Pi^ 


.*:i:<«A-,  OM 


ARCHITECTURAL    DRAWING   SKLF  TAUGHT 


97 


manner  of  holding  the  pencil  for  this  kind  of 
work. 

After  this  from  each  edge  of  the  paper  mark 
off  }<  in.  and  draw  a  border  line  all  round,  with 
plain  square  corners.  The  three  fingers  at  the 
back  of  the  stock  of  the  T-square  keep  it  close 
to  the  adge  of  the  board,  which  is  not  eas,  to  do 
at  first  starting,  but  with  a  little  patience  and 
perseverance  every  border  line  can  be  drawn 
with  equal  facility.  It  is  important  to  note  that 
all  pencil  lines  upon  a  drawing  should  be  thin; 


.> » I , >»,,.  >^  ^ 


4- 


-«j-»/V 


Fig.  90. 


Fig.  9' 


if  made  thick  they  cannot  be  inked  over  so 
neatly,  and  the  paper  will  have  a  greasy  feel  to 
the  pen.  The  india  rubber  should  be  used  very 
sparingly  and  if  possible  only  after  a  drawing  is 
completely  inked  in. 

A  pencil  line  drawn  in  error  should  have  a 
wavy  mark  across  it,  as  in  Fig.  90,  and  one 
drawn  full,  but  intended  to  be  inked  in  dotted, 
should  be  marked  as  in  Fig.  91;  this  is  instead 
of  rubbing  them  out  at  the  time.  Another 
fundamental  principle  is  always  to  draw  a  line 
far  enough  at  the  first  attempt,  but  not  to  draw 
it  beyond  the  distance  it  is  known  to  be  wanted. 


ii 


r 


ARCHITECTURAL   DRAWING  L  -ivF  TAUGHT 

An  unnecessary  line  takes  time  to  draw,  wastes 
the  pencil  point,  and  takes  time  to  rub  out;  all 
matters  of  moment  when  excellence  is  in  view. 
Of  course,  all  corrections  must  be  made  whilst 
the  drawing  is  in  pencil,  for  a  drawing,  while  in 
ink,  cannot  be  corrected,  without  great  injury 
being  done  to  it,  as  crasions  of  ink  spoil  the 
surface  of  the  paper  and  disfigure  the  whole 
work. 


h 


Fig.  92- 

When  a  drawing  is  completed,  the  pencil  lines 
may  be  erased  by  using  a  proper  rubber  similai 
to  that  shown  at  Fig.  92,  which  can  be  pur- 
chased for  a  few  cents.  Some  of  these  erasers 
are  made  so  that  one  end  of  them  is  specially 
devised  for  rubbing  out  pencil  lines  while  the 
other  end  is  intended  for  erasing  ink  lines. 
Never  use  the  ink  end  when  it  can  possibly  be 
avoided,  as  it  will  destroy  the  fine  surface  of  the 
paper  and  disfigure  the  drawing. 

When  it  can  be  afforded,  it  is  best  to  buy  a 
case  of  assorted  pencils.  They  will  come 
cheaper  this  way.  and  a  case  will  last  'or  years 


-"I-^J^.^. 


ARCHITKCTURAL    UUAWIXG   SELF  TAUOUT 


99 


and  the  draftsman  will  always  have  at  hand 
pencils  to  suit  all  sorts  of  work,  saber's  pencils 
were  considered  the  best  for  many  years,  but 
they  are  rapidly  being  driven  out  of  the  market 
by  pencils  of  American  manufacture.  Uixon's 
pencils  are  excellent  and  may  be  relied  upon  to 
give  good  results,  but,  in  my  own  practice  I 
make  use  of  'Eagle  Pencils"  and  find  in  them 
the  best  of  satisfaction.  This,  however,  is  per- 
haps after  all  merely  a  matter  of  taste,  a  pref- 
erence for  a  name  or  firm. 

Pencils— like  all  other  drawing  appliances- 
should  be  kept  in  a  case  and  should  always  be 
in  order  for  work,  so  that  in  a  hurried  job,  there 
will  be  no  need  to  hunt  all  over  fo-  a  pencil,  or 
a  knife  to  sharpen  it.  These  few  hints  regarding 
pencils  will,  I  hope,  prove  useful  to  the  young 
draftsman. 


m 


I  'iil 


1 


PRELIMINARY    ROUGH    SKETCHES 

Often  workmen  are  called  upon  to  make  a 
rough  sketch  of  a  piece  of  work  before  making 
a  drawing  of  it  in  order  to  get  a  fair  under- 
standing with  the  employer.  A  rough  sketch 
taken  off-hand  with  dimensions  put  on  in  figures 
will  often  give  to  the  person  ordering  the  work 
a   clear   idea   of    what    he     intends     and     thus 


'^a- 


100  ARCHITECTURAL    DRAWING   SELF  TAUGHT 


^i  .  .1 


t<Z>    V 


iw 


Fig-  93- 


ARCHlTKCTrnAL   DHAWIN(}   SEI.K  TAl-(}nT 


101 


prevent    disputes,    annoyances    and    misunder- 
standings. 

Rough  sketches  may  be  made  of  any  size  and 
without  reference  to  scale  or  regard  to  exactness, 
providing  always,  the  dimensions  are  given.     In 
order  to  illustrate  this  I  show  a  rough  sketch  of 
a   house    plan    at    Fig.   93.     We    suppose,    for 
instance,  a  man  wants  a  small  house;    in    the 
house  he  desires  a  parlor  18x20  feet,   a  dining 
room  18x20  feet  and  a  kitchen  18x22  feet,  and  a 
side  hall  with  stairway,  6'6",  length  of  the  house, 
with  all  the  necessary  windows,  bays,  and  doors, 
also  chimneys  and  fire-places.     The  whole  may 
be  drawn,  without  scale,  as  shown  in  the  pur- 
posely rough  illustration.     This  at  once  gives  a 
orrect  idea  of  the  plan  of  the  house  and  the 
general  lay  out.     After  satisfying  all  the  con- 
ditions required  in  the  plan,  a  rough  sketch  of 
the  elevation,  showing  height  of  ceilings,  pitch 
of  roof,  windows  and  other  necessaries;  may  be 
reduced  to  scale  and  drawn  on  paper  in  regular 
order.     Another  rough  sketch  is  shown  at  I'ig. 
94.  on  a  much  smaller    basis.     I  do  not  advise 
making  these  sketches  too  small,  particularly  if 
they  are  intended  to    submit  to    a    prospective 
owner,  as  then  they  are  apt  to  be  misleading. 
Any  one  acquainted  with  buildin^r  matters  or 


f 

i    " 

I 


I 


■R^ 


A'-t»^  _■ 


10^ 


AHCIUTECTURAL    DIIAWINC   SKLF   TArOIlT 


the  readin^r  of  plans,  will  have  no  difficulty 
whatev(  r  n  thorou^^hly  unilerstanding  these 
rough  sketches,  or  in  making  a  scale  drawing 
from  them,  if  they  have  the  least  knowledge  of 

drawing.  The  windows  and 
=^-=-^-  -*-  *  —  doors  are  she  -vn  so  far  as  posi- 
tion is  concerned,  and  are 
marked  respectively,  W  and 
D.     Where  the  dimensions  of 


Po.z 


Cvf* 


M 


m 

■^ 


L6t, 


Sciif     -'5«'^  these  are  decided  upon,  these 

j-H-H-i^     dimensions  may  be  marked  on 


I 


4 


't 


the  plan,  and  a  rough  sketch 
of  the  elevation  given;  if  for 
a  door,  make  it  as  shown  in  95, 
showing  number  of  panels, 
and  in  such  style  as  intended. 
If  the  door  is  elaborate,  then, 
of  course  greater  pains  will 
have  to  be  taken,  and  this  can 
best  be  done  by  making  it  a 
scale  drawing.  If  the  design 
wanted  is  for  a  window,  then 
a  rough  sketch  may  be  mads  similar  to  the 
one  shown  at  Fig.  96,  which  is  a  simple  6  light 
window.  A  more  elaborate  sash  is  shown  at  97, 
which  may  be  roughed  out  to  the  style  shown, 
or  to  any  other  style  desired. 


Fig-  94- 


ARCMITKCTrnA!,    n»AWI\(J   SF.LF  TAt'OUT  K).'} 

These  five  roii^rh  examples  arc  quite  sufficient 
to  convey  to  the  student  an  idea  of  how  he  can 
lay  out  a  rouj,di  sketch  from  which  he  may 
construct  an  exact  scale  drawin-.  I„  the  plans 
shown,  I  have  not  jrivcn  thickness  of  walls;  this 


^^'ii-  95-  Fig.  yfi. 

the  draftsman  can   arrange  when   he  plots  out 
his  plan. 

I  now  present  a  few  examples  which  show  the 
method  of  marking  oif  measurements  and  show- 
ing the  thickness  of  walls,  dimensions  of  windows, 
etc.  The  illustration  shown  at  Fig.  98  is  sup- 
posed to  be  the  front  of  a  building  having  a  front 
entrance  and  windows,  and  an  "over-all"  me.s- 


t!5 


<  ^ 


ni 


aMJ^^  .Ibl."*^-. 


104 


AHciiiT!:fTiinAL  nnvwistj  hki.k  TAioiir 


urement  of  30/6".     This  shows  i8'o"  for  the  pro- 
jection, and  2i'6"  for  the  reserved  part. 

Thes(r  measurements  should  be  a^ram  sub- 
divided, shovvinjj:  the  lengths  of  brickwork, 
widths  of  openinjjfs,  etc.;  and  the  line  of  meas- 
urements inside  gives  the 
thickness  of  the  walls,  di- 
mensions of  rooms,  etc.  The 
distance  that  the  part  pro- 
jects should  also  be  noted 
as  shown  by  30".  The  in- 
side measurements  and  the 
smaller  dimensions  should 
exactlyagree  with  the  "over- 
all" measurement  given. 

In  drawing  pencil  lines 
they  should  always  be 
drawn  longer  than  the  ac- 
tual length  of  the  lines  to 
be  inked  in,  so  that  the 
exact  point  of  intersection 
with  other  lines  can  be  better 
"een.  When  the  drawing  has  been  inked  in,  these 
extra  lengths,  of  course,  have  to  j  cleaned  off 
with  india  rubber,  as  well  as  a  great  many  other 
pencil  lines  which  are  necessary  in  the  process 
of  making  the  drawing,  but  whicli  form  no  part 


F'«.  97. 


AUriIITK.TI  HM.    I.UAWIVC;    MKLF   TVroilT  ](}.", 

of  thv.  Ii„ishe<l  clrawinjr.  Those  -construction 
'ncs,  as  they  are  calle.l,  should  be  drawn  as 
I'k'htly  as  possible,  so  as  to  be  easily  removed 
Without  greatly  dnmajring  the  surface  of  the 
paper.  When  dra.vinjr  circles  or  arcs  of  circles 
with  the  compasses,  a  little  pencil  mark  should 
be  made  round  the  center  point,  so  that  it  can 
be  found  without  any  trouble  when  it  is  desired 
to  mk  m  the  drawing.     It  is  useless  to  draw  in 


Fijr.    ,jS. 

pencil  every  one  of  a  long  series  of  circles  or 
arcs  which  are  alike;  it  will  be  more  expeditious 
to  mark  the  centers  only  after  drawing  one  or 
two,  for  in  the  inking-in  of  the  work  when  the 
compasses  are  once  set  to  the  correct  radius  the 
centers  will  be  a  I  that  is  required  to  draw  them 
in  full. 

Every  working  drawing  when  it  leaves  the 
draftsman  should  be  carefully  and  completely 
figured  as  shown  in  Fig.  98.  A  little  time  spent 
in  figuring  builders'  drawings,  so  that  the  sizes 


..T^ 


liiriiirii'r  TBrrTi' 


|(K'> 


MtnillK    II   l(\l.    l>U\\VIN(i    HKI-K    lAPdllT 


of  window  ami  door  opening's,  thicktU'ss  of  walls. 
<t(..  .lit-  cU'.irlv  stated,  will  save  time,  worry 
afid  itu-oinrniciuc.  A  mcasurcmrnt  of  feet 
only  should  always  hav(  a  ( iphcr  in  the  place  of 
the  imhcs  a^  .'So",  and  arrow -In-ads,  as  In-forc 
d«'s(  riliid,  ^lunild  show  ihc  <  xtrcnic  limits  of  the 
intcnth  d  dinirnsions,  l'rrhap->  it  may  tiot  hr. 
ncrt--sar\-  to  t\plain  to  the  student  the  use  of 
the  foot  and  iiK  h  marks.  '  and  "  whl  should 
always  l)c  plated  over  ilimcnsions  ti^  The 

sin<rU>  mark  <lenoiin,ir  f,Ht.  an'  douhU;  mark 

represi  ntin<,'  iiu  lies,  when  employed  they  ^^reatly 
as  !st  in  readiuLj  of  plans. 

X'ertical  nuasuremeni  ^  showing'  tin;  heij^ht  of 
rooms  or  -torics  are  best  li^ured  from  lloor  to 
floor  —rarely  from  door  to  <  <.ilin>,^- l)ut  allow  .nce 
must  be  made  for  the  deptli  of  joists  and  tliick- 
ness  of  floor  and  ceiling  'llu  iiei.i^dn  of  windows 
should  be  always  figured  from  the  top  of  the  sill 
to  the  un  ler^id(.'  of  the  head,  and  their  position 
from  the  level  of  the  floor  to  the  top  of  the  sill, 
this  ^nvini,^  exactly  the  opening  in  the  frame  or 
brickwork.  When  a  drawing  is  carefully  figured 
it  is  much  easier  for  the  workman  to  jnderstantl, 
and  mistakes  ami  misunderstandings  are  less 
liable  to  occur. 

\\  e    have    now    reached    a   point   where    the 


-^  tl^ 


AnnuTK(Trn\i,  drawivo  «ki,k  taioiit 


107 


f 


student  may  venture  to  attempt  a  rouyh  draw- 
ing for  a  small  cottage,  and  to  this  end  the 
following  illustrations  are  submitted. 

We  will  sui)pose  that  a  brick  cottagf  31  feet 
long  and  i(/6"  wide  is  to  be  built,  having  threr 
rooms  and  a  hall  on  main  tloor.  a  cellar,  and 
^ttic  containing  three  bedrooms,  and  attic.  The 
foundation  is  to  be  of  stone,  the  superstructure 
of  bricks,  and  the  roof  of  wood,  shinghui. 
Having  the  paper  properly  tacked  on  the  draw- 


ing  board,  ready  for  work,  we  next  decide  upon 
a  scale.     I  would  suggest  a  scale  of  four  feet  to 
the  inch;  that  is.  each  quarter  of  an  inch  should 
represent  one  foot  of  the  building;  and  as  thi.  is 
an  easy  scale,  ami  on.;  that  can  be  readily  under- 
stood by  the  student,  he  will  have  no  trouble  in 
dealing  with   it.     A  scale  is  shown  at  I'ig.  99. 
Of  course,  the  quarter  inch  must  be  divided  into 
twelve  parts-which  will  be  found  on  any  good 
rubber  or  ivory   scale-then    square   off  a  fine 
pencd  line  from  your  left  hand  across  the  paper 
near  the  lower  edge  of  the  board.     I-Vom  this 
hne,  draw  another  at  a  convenient  point  at  right 
angles  to  the  first  line.     Make  these  lines  with  a 


II 


108 


ARCHITECTURAL    DRAWINO    SKLF   TAIV.IIT 


fine  pointed  HH  pencil,  and  so  li^dit  that  they 
may  be  easily  erased.  1^'rom  the  junction  of  the 
two  lines,  l*",  Fig.  loo,  measure  off  734^  inches, 
which  will  equal  31  quarter  inches,  which  again 
represent  31  feet  by  scale.  From  this  point,  B, 
square  up  another  line.      PVom   E    to    V,   is   a 


Fig.  100.     Cellar  Plan. 


distance  of  4/8  inches,  which  contains  19  quarter 
inches  and  one  ji  of  an  inch.  The  19  quarter 
inches  represent  19  feet  on  scale,  and  the  ^  of 
an  inch  represents  6  inches,  thus,  making  the 
total  distance  between  F  and  1'",  19  feet  and  6 
inches.  Square  over  from  F  to  A,  and  the  lines 
A  B,  E  1"",  form  the  boundary  of  the  cellar  plan. 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


109 


The  cellar  walls  are  supposed  to  be  of  stone,  and 
are  therefore  i8  inches  thick,  so  we  measure  off, 
working  to  the  inside  always,  H  of  an  inch, 
which  according  to  our  scale,  represents  i  ft.  6 
in.,  the  proper  thickness  of  the  wall. 

It  will  be  noticed  that  at  R  we  have  projected 
the  wall  inside  the  cellar;  this  projection  is 
intended  to  carry  the  chimney  and  fireplace. 
Here  we  show  two  projections,  but  in  practice 
the  projection  is  made  in  one  as  shown  by  the 
dotted  lines.  The  same  is  also  done  with  the 
chimney  foundation  shown  at  S.  While  the 
shaded  parts  shown  would  be  ample  to  carry  the 
chimney  and  fireplace  above,  it  is  generally 
more  economical  to  make  a  solid  block  of  stone- 
work, as  shown  by  the  dotted  lines.  In  actual 
practice,  the  first  stones  laid  should  project 
beyond  the  faces  of  the  wall  six  or  more  inches 
on  each  side  in  order  to  give  the  foundation  a 
wider  base.  These  bottom  stones  are  called 
"footings."  They  should  never  be  less  than  6 
inches  thick. 

The  partition  V  is  built  of  bricks  laid  on  stone 
footings.  This  wall  is  nine  inches  thick— the 
length  of  a  brick— and  runs  up  to  the  floor  joists. 
The  partition  on  the  opposite  side  of  the  stair- 
way is  a  studded,  1'  thed  and  plastered  one.     The 


110 


AlU  IIITKCTURAL   DUAWINU    SKl.K   TAUCIHT 


openings,  (),  O,  arc  for  the  cellar  windows  and 
are  three  feet  ('4  inch)  wide.  The  framework 
outside  the  windows  are  curbs,  built  around  the 
windows  to  prevent  the  earth  from  filling  in 
against  the  glass.  The  student  need  not  mind 
the  shading  unless  he  desires  to  fill  in  the  walls. 


First  Floor  Plan. 


This  sketch  i?  row  a  complete  plan  of  the  cellar, 
and  one  that  c  m  b-  worked  to. 

It  will  now  be  in  order  to  draw  the  first  floor 
plan,  as  shown  in  Fig.  loi.  Proceed  the  same 
as  before,  only  in  this  case  the  outer  walls  are 
made  %  inch  thick,  which  represents  one  foot, 
making  the  wall  one  and  one-half  bricks  thick. 
Measure  off  the  openings  as  shown,  making  the 


ARCniTKCTUH.VL    DUAWIXG    SIXF  TAVGIIT 


111 


Fig.  102.     Attic  Plan. 

window  openings  which  are  represented  by  three 
lines  running  through  the  openings  {^<i  inch 
wide),  which  is  three  feet.     The  two  door  open- 


Fig.  i;,5.     Front  Elevation. 


112 


ARCHITECTURAL   DRAWING  SELF  TAUGHT 


PLATE  7. 

Plate  7  exhibits  a  portion  of  cornice  and  roof 
of  main  building.  This  shows  the  construction, 
with  roof  boards  and  shingles,  also  the  finished 
portion  of  roof  and  cornice. 


EMM 


©eT^'Ls 


/ 


f^ 


7/C, 


'^^msfl^Bsi 


AnrniTKCTrRAL  dhawinq  self  taioht         113 

ings  are  13-16  inch,  or  3  feet  3  in.  Measure  off 
the  partitions  and  lay  off  to  sizes  as  figured.  Be 
careful  to  have  the  chimneys  and  fireplaces,  R. 


Fig.  104.     End  Elevation  and  Section. 

R.  S.,  directly  over  those  in  the  cellar.  The 
stairs  in  cellar  are  directly  under  the  stairs  as 
shown  in  this  plan.  The  projections  shown  at 
the  doors  are  steps. 


114 


A;«'iirrK(-iiH.\L  duawixg  hklf  TAruin' 


The  plan  shown  at  I-'i^r.  102  is  for  the  attic 
story.  A  part  of  the  hci^^ht  of  this  will  run  up 
into  the  roof  as  will  be  shown  in  section  Fig.  104. 
Here  the  chimneys  take  another  shape  and  are 
"drawn  in"  to  suit  the  flues.  The  partitions  are 
varied  and  the  stairs  land  in  the  hall  by  three 


LilE^L^V;^j 


••  •  4 


i 


a^^^^^ig^^s^s^ 


l'>K-  10;.  Fig.  106. 

winders.  The  windows  are  not  so  wide  as  those 
in  the  stories  below,  only  being  2  ft.  3  in.  in  th(; 
openings.  Measure  off  the  rooms  as  they  are 
figured,  making  the  partitions  of  2x4  in.  studs, 
and  marking  off  the  newel  and  rail  for  stairs  as 
shown. 

The  elevation  shown  at  Fig.  103  requires  but 
little  explanation,  as  it  is  simj^h;  and  easily 
understood.  The  windo\\s  are  .^  feet  wide  in  the 
opening  and   5   ft.  3  in.  from   lintel  to  sill;  so. 


ARrHITWTURAI,    DHAWINti    SKLF   T.VUOIIT  115 

keeping  these  figures  in  mind,  the  window  and 
sashes  may  be  hiid  out  readily.  The  door,  Trom 
floor  to  lintel,  including  fanlight,  is  8  feet  high, 
Ijy  3  ft.  3  in.  in  width.     The  rest  is  easy. 

A  part  of  the  end  elevation  and  a  sectional 
view  are  shown  at  Fig.  104.     In  the  section  the 


t"^,.,' 


f    •".  -r  li..: I— -^  -=-   in-  .,-  .,r 

.v.-^/;:lfi,.^;.    11^=- .11..  J^' I; ^  (I.  H:-''"-' 


;;»•■ 


5?^,.^  /I 


1 /^^<f^  :i 


■•  -^     ^T^r^'       I  .    .11,,    ^ •  '-i      J   *— ^ 


'lU 


V/v,., 


Fig.  107. 

foundation  footing  is  shown  at  O;  the  projection 
of  doorsteps  is  also  shown  on  the  ground  line. 

All  these  examples  should  first  be  made  in 
pencil,  after  which,  when  corrected,  they  may  be 
'Tilled  in"  with  ink. 

I  have  mentioned  something  regarding  "foot- 
ings" for  foundations  and  it  may  not  be  out  of 
place  at  this    point  to  say  something  more  of 


<F^      TT 


ii« 


AlK  IlITfc(TUHAI.   UUWVI.NG   SKLF  TALGUT 


l< 


i 


teiiii 


them.     The  illustrati*  n  shown  at  Fig.  105  shows 
thf^  footinj^  and  a  portion  of  section  of  wall  that 

would  be  suitable  for 


the  brick  i)artition 
runninjr  fhrouj^h  the 
cellar  of  the  cottage 
we  have  jusr  dis- 
cussed. Here  is  a 
flat  stone  foor-ng 
with  three  courses  of 
^'^^^^^^^^^  Ticks  on  top  before 
^^^<^^f^^^: ^<:^^^,  the  regular  wall  corn- 
Fig.  ic3.  niences.  The  dotted 
lines  show  the  top  of 
cellar  floor  whether  it  be  plank  or  cement.  When 
the  whole  foundation  and  wall  are  to  be  of  stone, 
the  student  may  lay  it  off  in  accordance  with 
the  class  <  f  ma- 
sonr\'  employed. 
One  methoil  of 
shoeing  square 
rubble  work  in 
a  wall,  is  exhib- 
ited  at  Fi«r.  106. 


g.  109. 


This  siiows  a  section  of  the  wall,  thro, jgh  B,at  Fiy 
107.     Coursed  rubble  work  is  shown  at  Fig.  lob. 
while  rando!'^   rubble  worl    is  shown     ^  Fig.  109. 


AnriiiTWTriJM,  imwviv*!  hu.v  Tvrtiiir         1I7 

In  this  style  of  masonry,  tht:  wall  is  bruu^'ht  (c  a 
level  throii^rhout  its  len^^th  at  about  every  i  >  ,.r 
14  Inches,  in  hei^jht,  so  as  to  form  courses  uf 
that  depth.  This  wall  is  built  of  stones  rou^^h 
from  the  quarry,  rejranlless  of  size  or  shape. 

Another  style  of  masonry  built  up  of  irrej^nilar 
stones  that   have   been   broken   up   from    lar^rc 
field    stones     is 
shown  at  lig.  1 10 
The      foundation 
and    rorners    are 
built  lip  of  squared 
ston<        This  kind 
of    work  is   some- 
tim<s       'led  irreg- 
ular r'     hie,  rustic 
work,  or  field  stone 

masonry.     It  dues  *''^-  ''"• 

very  well  for  garden  wails,  retaining  alls,  cel- 
lar walls  for  small  buildin^rs,  bu.  should  not  be 
used  where  great  strf-njrth  is  n-quired. 

Klock  course  masonry  is  where  the  cours.-s  of 
stone  run  in  strai  ht  horizontal  line^  as  shov  n 
at    Fig.    in.     Ashler    masonrv  lilt    up 

courses  of  more  or  less  unifor 
from    10  to    14  inches    deej 
quoins  or  corners,  anu  other 


M 


118 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


I 


by  different  names,  according  to  thie  face  put 
upon  the  stone — from  quarry-pitched,  or  rock 
ashler,  to  wrought  ashler.  A  sample  of  the  work 
is  shown  in  Fig.  112. 

There  are  many  other  forms  of  stonework, 
but  the  examples  given  are  quite  sufficient  for 
the  purposes  of  this  work,  and  other  forms  may 
well  be  left  to  the  trained  architect.     Perhaps  a 


jilj 

':i;v;'  |i"": i 

%^-^^.\ 

S:'\ 

■?i,i 

!l!l!':'::„„;. 

ii'iiln'  ■''■'■ 

r.if.f 

1.    "; 

.:'•■■-- m•.^M 

1  .  ...ir.'- 

)|l'"     ■'".!.  Il/I 

iliilll'nrr^ -. 

r. y 

1 

..•■' ■;,.,.■  .n|.' 

1" ■"■■" 

:ill-M'l;"l!"  -,.   •'•■"('1'"  1 

!iij;.:7"';::::,: 

'  I''.'-Il1lllil 

Fijj.   III. 

few  examples  of  brickwork  will  not  be  out  of 
place  at  this  point,  as  they  w^ill  give  to  the 
student  a  slight  insight  into  the  manner  of 
"bonding,"  which  is  quite  an  important  matter  in 
brickbuilding. 

At  Fig.  113,  the  end  section  of  a  single  brick, 
or  9  inch  wall,  is  shown,  having  a  two  brick  or 
18  inch  footing.  This  will  be  easily  understood 
as  will  also  the  section  shown  at  Fig.  114.    The 


ARCItlTWTURAL    DRAWINO   SELF  TAUGHT 


119 


latter  shows  the  section  of  a  brick  and  a  half 
wall,  known  generally  as  a  14  inch  wall.  The 
footing     for    this    is    formed    of   three   bricks, 


ill  a'  I 


jm 


mff' ■mjf% 


ii,  I  'I 


I i#'^'' J, 


ill,    I. 


:ii  ■•■fM'. 
7 


iir^nf 


'ji'    'ii|:!iii'.i|l:!.ii-  ""■„!?"■-'! 


it 


i:  i 


»^ 


i,!|l- 


mf     •'ill 
i'''ii.'    ..II ill 


\r' 


'^S3^ 


Fig.  112. 


making  it  28  inches  wide.  The  footing  is 
diminished  until  it  is  only  two  bricks  wide  on 
which  the  actual  wall  commences.     Other  thick- 


*        I 


S 


^'■g-  "3-  Fig.  1,4. 

nesses  of  walls  are  formed  on  the  same  principle 

so  other  examples  of  this  kind  are  unnecessary. 

At  Fig.    115  I   show  two  plans  of  an   18  inch 


120  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

M/all  which  illustrates  the  method  of  "bonding" 
or  breaking  joints.     I  also  show  a  r,ection  of  the 

wall  shaded. 

Before  proceeding  further,  it  may  be  well  to 
explain  the  meaning  of  the  term  "bond,""  or 
"bonding."     "Bond"  is  an  arrangement  of  bricks 

2-Brick  WaU. 


SKtiem 


or       — 

I 1 ' 

„_1_ 

lIZ 

__ 

.1_ 

r.4.« 

f 



1 

Fig.  115- 

or  stones  placed  in  juxtaposition  so  as  to 
prevent  the  vertical  or  plumb  joint  between  ?ny 
two  bricks  or  stones  falling  into  a  continuous 
straight  line  with  that  between  any  other  two. 
This  is  called  "breaking  joint,"  and  when  it  is 
not  properly  carried  out,  that  is,  when  two  or 
more  joints  do  fall  into  the  same  line,  as  at  x  y, 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


121 


Fig  ii6,  they  form  what  is  called  a  straight 
joint.  Straight  joints  split  up  and  weaken  the 
part  of  the  wall  in  which  they  occur,  and  should 
therefore  be  avoided.  A  good  bond  breaks  the 
vertical  joints,  both  in  the  length  and  thickness 
of  the  wall,  giving  the  bricks  or  stones  a  good 
lap  over  one  another  in  both  directions,  so  as  to 
afford  as  much  hold  as  possible  between  the 
different  parts  of  the  wall. 


Fig.  I  if). 

A  further  effect  of  bond  is  to  distribute  the 
pressure  which  comes  upon  each  brick  over  a 
large  number  of  bricks  below  it.  Thus,  in  Fig. 
ii6,  there  is  a  proper  bond  among  the  bricks 
forming  the  face  of  the  wall,  and  the  pressure 
upon  the  brick  A  is  communicated  to  every  brick 
within  the  triangle  A,  B,  C. 

A  defective  bond,  either  in  brickwork  or 
masonry,  may  look  very  well  upon  the  face  of 
the  work,  as  in  Fig.  ii6,  where  the  bricks 
regularly  break    joint  vertically,  but  in    which 


122 


AIUIIIT; CTUHAL    DRAWING   SELF  TAUGHT 


there  is  no  bond  whatever  across  the  thickness 
of  the  wall,  which,  it  will  be  seen,  is  really 
composed  of  two  distinct  slice;  of  brickwork, 
each  4,"/  inches  thick,  and  having  no  connction 
with  one  another,  except  that  afforded  by  the 
mortar.  To  avoid  this  defect,  the  bricks  or 
stones  forming  a  w'all  are  not  all  laid  in  the 
same  direction  as  in  Fig.  ii6,  but  some  are  laid 
parallel  to  the  length  of  the  wall  and  others  at 
right  angles  to  them,  so  that  the  length  of  one 
of  the  latter  overlaps  the  width  of  the  two  below 
it,  as  shown  in  Fig.  115.  In  this  figure,  a  wall  is 
shown  in  section  at  the  top,  two  bricks  in 
thickness.  The  second  diagram  shows  a  plan  of 
the  courses,  2,  4,  6,  as  numbered  in  the  section, 
while  the  lower  diagram  shows  the  plan  of  the 
courses,  as  they  are  laid  in  the  wall,  of  the 
courses  numbered  i,  3,  5,  in  the  section. 

When  bricks  are  laid  lengthwise  in  the  wall, 
as  shown  in  Fig.  117,  they  are  called  "stretchers"; 
when  they  are  laid  across  the  wall,  as  in  Fig. 
118,  they  are  called  "headers."  "Stretchers" 
are  bricks  or  stones  which  lie  parallel  to  the 
length  of  the  wall,  those  in  the  exterior  of  the 
work  showing  one  side  in  the  face  of  the  wall. 

"Headers"  are  bricks  or  stones  whose  lengths 
lie  across  the  thickness  of  the  walls,  the  ends,  or 


ARrHITECTUHAL    DRAWIXO   SELF  TAUGHT  123 

"heads,"  of  those  thin  walls  like  the  diagram  or 
m  the  outside  of  thick  walls,  being  visible  on  'the 
face. 

If   the    student    copies    these    examples   and 
thmks  as  he  draws,  grasping  the  reasons  why 


Fig.  117. 


Fig.  iiS. 


the  bricks  are  laid  in  the  manner  shown,  he  will 
accomplish  two  purposes,  learning  to  draw  and 
acquiring  a  constructive  knowledge. 

There  are  a  variety  of  "bonds"  in  brickwork 
all  of  which  it  will  be  necessary  for  the  archi- 
te  ctural  student  to  be  familiar  with,  and  I  pro- 
pose  •  offer  a  few  examples  for  practice  and  to 
expla    i  them  at  the  same  time. 

The  bond  chiefly  used  in  this  country  for 
ordinary  work  is  called  running  "bond  "  This 
consists  of  three,  four  or  five  running  courses  of 
stretchers,  and  then  a  course  of  headers,  as 
shown  in  Fig.  1,9,  where  there  are  three  courses 
of  stretchers  and  one  course  of  headers  The 
small  portions  of  bricks,  or  "bats,"  designated  by 


W4 


\H(-|liri.(TrHAl.    DHAWIXO    HKI.F   TAKillT 


XXXX,  arc  tcnmul  closers,  and  arc  required  to 
fill  out  the  courses. 

In  Kn^dish  'Ijond"  there  is  in  the;  face  wall  a 
course  of  headers,  then  a  course  of  stretchers, 
and  so  on  all  the  way.  This  arranj^^ement  is  for 
the  front  of  the  wall,  and  in  the  thick  walls  the 
bricks  are  made  to  join  in  to  the  best  advantage. 


E 


iVTP 


m'i  i'i  i'i  rrrTl 


I'.  I  .1,1 


^=^=^&rn 


m^m 


yrpv.i 


Ml    II    II     II    II    l> 


Fig.  119. 

Thus,  an  English  bond  nine-inch  wall  will  have 
for  each  course  of  stretchers  two  rows  side  by 
side,  breaking  joint  horizontally.  The  joints  in 
the  inside  courses  should  be  one-half  the  width 
of  the  brick  from  the  vertical  joints  of  the 
stretchers  above  and  below\  A  fourteen  inch 
wall  in  English  bond  is  shown  at  Eig.  120,  which 
represents    four   courses    in  elevation,  and  the 


ARCI!ITK(Trii.\I,    DKAWINC    HV.l.V    lALOIIT 


1J.3 


second  course  and  the  top  course,  from  the  top, 
in  plan.  It  is  absolutely  necessary  in  this  wall 
to  have  a  row  of  headers  back  of  the  stretchers, 
as  if  they  were  all  stretchers  in  this  course,  there 
would  be  a  mortar  joint  all  the  way  up  throu^rh 


"  '  '    '  '  '    I  4-r-^ 


S-4 


ELLVATION 


1    1    1    1 

HLA 

N  or 

COUK 

SE  A 

PLAN  OF  COUaSE  B 

Fig.  120. 

the  wall  along  the  line  A  B.  There  are  shown 
two  ways  to  make  the  headers  in  any  course; 
break  joints  with  the  stretchers  in  the  same 
course.  In  the  plan  of  course  A  at  the  left- 
hand  end  there  will  be  seen  a  closer  X.  which  is 
half  of    a  brick    split    lengthwise.     This   piece. 


1.' 


i 


126 


AUCHlTKtTUUAh    DUAWINO   HKhF  TAUOIIT 


g\2l'ix2]i,  bein^  put  in  next  to  the  last  stretcher. 
In  the  plan  of  course  13  it  will  be  seen  that  the 
same  thing  is  done  by  using  three-quarter  bricks 
laid  flatwise. 
The  example  shown   at   121  exhibits  several 


1'  s  1"  iiA-n/T^L  ,'  ' ,  .1   ,  ,1 

-T^^f- 

X\VyVvV/VVV/Ss 

^Jn!|    1,' 

,';i  i/<j 

'X  1  1'  '1  1  ' 

1        1  y^^ /"^ 

<\>''\    1          II 

.,__! — !_y\^ 

r\.C\     '      '              ' 

^^~w 

Wv^ 

-r^^ 

^^R-AA^ 

~   1    i — 1   '       1 

'    . ' 

1            1     1 

w 

■■'  '1  ,'  ^ 

1             1     1 

1     IF     1      1 

II           II              1 

1             1 

11            II 

II           It              1 

1             1     1 

II            1       » 

1    1            II              1 

1    ,      ,1      1,   , 

n"M'    ', 

Fig    121. 

styles  oi  laying  bricks;  C  shows  the  arch  A, 
I.  ring  bone  filling  over  a  window,  S,  a  stone 
siil  F  the  general  brickwork  and  W  the  window 
opening.  This  is  a  good  example  to  draw, 
though  it  is  not  by  any  means  good  architecture. 
These  examples  are  sufficient  for  my  purpose, 


AIM  IIITKCnUAI.    DKAWING    SKLF   TAroHT 


127 


and  should  the  student  desire  to  know  more 
about  the  bonding  of  brickwork,  he  may  procure 
a  copy  of  a  manual  on  brick  and  stone  work  I 
have  in  preparation,  and  which  will  be  published 
by  Drake  ik  Co.  shortly. 

DRAWING    ARCHES 

It  is  absolutely  necessary  the  draftsman 
should  know  how  to  draw  the  forms  of  arches 
that  are  in  common  use,  and  in  order  to  instruct 


Fig.  125. 

him  on   this  point,  the  following  e.xamples  are 
submitted  for  him  to  study  and  work  out.     The 
arch  shown  at   Fig.  122  is  simply  a  semicircular 
one,  and  the  simple  line  of  arch  is  drawn  from 
a  center  as  shown.     When  an  arch  of  this  form 
is  used  for  brick  or  stone  work  as  shown  at  Fig. 
123,  a  new  set  of  conditions  arise,  as  the  joints 
of  the  bricks  or  stone  must  be  shown  so  that  the 
right    bevels    or    angles    may   be   given    them. 
These  joints  all  radiate  to  the  center  of  the  arch 
as  shown.     It  may  not  be  out  of  place  at  this 


wmrmfm' 


%..  u 


k 


128 


ARCIIITECTUKAL   rUAWING   SFXF   TAUGHT 


PLATE   8. 


This  plate  shows  the  outside  of  a  plain  window 
frame,  a  door  frame,  corner  board,  and  a 
sectional  elevation  of  sash  and  frame.  This  is  a 
very  simple  plate,  and  the  young  draftsman  will 
find  no  difficulty  in  re-drawing  these  details. 


wm,-jMv.',  .  .•■■■» 


i 


1 


r) 


L  ^  T  f   d. 


I 


Out    Side     Frames    and 


n  I 


h 


I 


ANC  ORNER 


II 


I 


J 

i 


■rr^Tr 


ARCHITECTURAL    DRAWING    SELF  TAUGHT  129 

point  to  give  a  description  of  the  arch,  with  the 
terms  used  in  connection  therewith,  and,  I  may 
say,  the  definitions  given  apply  to  all  other 
arches  as  well  as  to  the  one  in  Pig.  123: 

(i)  The  SPAN  of  an  arch  is  the  distance 
between  the  points  of  support,  which  is  generally 
the  width  of  the  opening  to  be  covered,  as  A  B. 
These  points  are  called  the  springing  points; 
the  mass  against  which  the  arch  rests  is  called 
the  ABUTMENT. 

(2)  The  RISE,  HEIGHT  OR  VERSED 
SINE  of  an  arch  is  the  distance  from  C  to  D 

(3)  The  SPRINGING  LINE  of  an  arch  is  the 
Ime  A  B,  being  a  horizontal  line  drawn  across 
the  tops  of  the  s'-oport  where  the  arch 
commences. 

(4)  The  CROWN  of  an  arch  is  the  highest 
point,  as  D. 

(5)  ^'OUSSOIRS  is  the  name  given  to  the 
stones  forming  the  arch. 

(6)  The  KEYSTONE  is  the  center  or  upper- 
most voussoir.  D.  so  called  because  it  is  the  last 
^tone  set,  and  wtxiges  or  keys  the  whole 
together.  Keystones  are  frequently  allowed  to 
project  from  the  faces  of  the  wall  and  in  some 
buildings  are  very  elaborately  carved. 

(7)  The  INTRADOS  or  SOFFIT  of  an  arch 


,  t=fjii.-i.-'5^«aE-=rv 


130 


AKCHITECIURAL   DRAWING   SELF  TAUGHT 


is  the  under  side  of  the  voussoirs  forming  the 
curve. 

(8)  The  EXTRA  DOS  or  HACK  is  the  upper 
side  of  the  voussiors, 

(9)  The  THRUST  of  an  arch  is  the  tendency 
which  all  arches  have  to  descend  in  the  middle, 
and  to  overturn  or  tJinist  asunder  the  points  of 
support.  The  amount  of  the  thrust  of  an  arch 
depends  on  the  proportions  between  the  rise  and 
the  span;  that  is  to  say,  the  span  and  li'eight  to 
be  supported  bein^  definite,  the  thrust  will  be 
diminished  in  proportion  as  the  rise  of  the  arch 
is  increased,  and  the  thrust  will  be  increased  in 
proportion  as  the  crown  of  the  arch  is  lowered. 

(10)  The  JOINTS  of  an  arch  are  the  lines 
formed  by  the  adjoininj^  faces  of  the  voussoirs; 
these  should  generally  radiate  to  some  definite 
point,  and  each  should  be  perpendicular  to  a 
tangent  to  the  curve  of  each  joint.  In  all  curves 
comijosed  of  arcs  of  circles,  a  tangent  to  the 
curve  at  any  point  will  be  perpendicular  to  a 
radius  drawn  from  the  center  of  the  circle 
through  that  point,  consequently  the  joints  in 
all  such  arches  should  radiate  to  the  center  of 
the  circle  of  which  the  curve  forms  a  part. 

(11)  The  BKD  of  an  arch  is  the  top  of  the 
abutment;  the  shape  of  the  bed  depends  on  the 


ARCHITECTURAL    DRAWING    SELF  TAUGHT  131 

quality  of  the  curve,  and   is  explained   in    the 
diagrams. 

(12)  A  RAMPART  ARCH  is  one  in  which  the 
springing  lines  are  not  on  the  same  level 

(13)  A  STRAIGHT  ARCH  or.  as  it  is  more 
properly  called,  a  plal-band,  is  formed  of  a  row 
of  wedge  shaped  bricks  or  stones  of  equal 
depth  placed  in  a  horizontal  line;  the  upper 
ends  of  the  pieces  being  broader  than  the  lower 
prevents  them  from  falling  down. 

(14)  ARCHES  are  named  from  the  shape  of 
the  curve  of  the  underside,  and  are  either  simple 
or  complex.  The  simple  curves  may  be  defined 
as  those  that  are  described  from  one  center, 
as  Fig.  122.  or  by  a  continuous  motion,  as  the 
ellipse.  parabola,  hyperbola.  cycloid,  and 
epicycloid;  and  complex  arches  are  those 
which  are  described  from  lwo 

or  more  fixed  centers,  as  many 

of    the  Ciothic    and    Moorish 

arches  are. 

Fig.   124  shows  the  manner 

of  drawing  a  segmental  arch 

The  center  of  this  is  below  the  springing  lines 

A  segmental    arch,  drawn    out    for    brickwork 

IS  shown  at  Fig.  ,25,  in  which  the  joint  lines  are 

marked  off. 


i 


! 


132 


AnCHITECTITRAL    DHAWIXG   SKLF  TAUGHT 


A  segmental  arch  drawn  from  two  centers  is 
shown  at  Fig.  126.  The  centers  are  shown  so 
that  the  student  will  have  no  trouble  in  describ- 


\ 


••.'7 


•  '  4 

Fig.   126. 


ing  it.  The  joints  for  brick  or  stone  work  may 
be  laid  out  aroupd  this  arch,  by  using  the  centers 
as  fixed  points  and  runnini,^  ratlial  lines  through 
the  curved  lines. 

The  diagram  shown  at  big.  127  illustrates  a 


V 

Fiv;.    .2- 


Fig.    128 

Tudor  arch.  It  is  struck  from  three  centers  as 
shown.  It  is  sometimes  called  an  elliptical 
Gothic    arch,   and    may   be    struck   as   follows: 


AHCim  KtTURAL    DHAWIXG   8KLF  TAUGHT 


133 


Divide  the  span,  ad,  Fi<r.  128,  into  three  equal 
parts  by  the  points,  cf.  From  a,  with  radius  aj\ 
describe  an  arc,  and  from  <•,/,  and  d,  describe 
similar  arcs,  which  intersect  at  ij.  Now  bisect 
the  span,  ad,  and  raise  a  perpendicular  to  /. 
Draw  a  line  throufrh  //  and  jc,  and  produce 
these  lines.  With  compasses  from /with  radius, 
fd,  describe  arc  to/,  and  from  c,  with  the  same 
radius,  describe  a  similar  arc  to  ;///.  Then  from 
/with  radius  ij,  describe  arc,//,  and  from /same 
radius,  the  curve  ///,  when  the  interior  curve  of 
the  arch  will  be  completed,  the  remainder  of  the 
arch  bein-,^  set  out  in  the  usual  manner. 

The  elliptical  arch  can  best  be  described  with 
the  trammel  shown  at  Tig.  69,  or  with  a  string 
as  described  at  Fig.  68,  but  the  joints  for  brick 
or  stone  work  must  be  obtained  by  a  method 
very  different  from  that  illustrated  for  circular 
arches.  To  obtain  the  correct  lines  for  the 
elliptical  arch  shown  at  b"ig.  129,  we  must  pro- 
ceed as  follows:  Let  ZZ  be  the  foci,  and  B  a 
point  on  the  intrados  where  a  joint  is  required; 
from  ZZ  draw  lines  to  B,  bisect  the  angle  at  B 
by  a  line  drawn  through  the  intersecting  arcs 
1)  produced  for  the  joint  to  F.  Joints  at  i  and 
2  are  found  in  the  same  manner.  The  joints  for 
the  opposite  side  of  the  arch  may  be  transferred 


-S,l 

J" " 


1 

1                         134 

ARCIIITKCTURAL 

DRAWING   SKLK 

TAUGHT 

as  sh 

own 

.     The 

semi 

-axes 

of  the 

ellipse, 

H  G. 

1                    GK. 

are 

in  the 

same 

ratio 

as  G  K 

to  G  A. 

The 

1 

K 

Fig.  119. 


voussoirs  near  the  springing  line  of  the  iirch  are 
thus  increased  in  size  for  greater  strength. 
The  diagram  shown  at  Fig.  130  shows  a  lancet 


8— El 


Fig.  130. 


Fig.  131, 


arch.  This  is  drawn  by  placing  the  centers  of 
the  curves  outside  the  figure  as  at  G  and  F.  E 
O,  show  the  width  of  the  opening,  and  H  J,  the 
height. 


ARCHITECTI  HAL    DRAWIXG   SKLF  TAUGHT  185 

A  completed  lancet  arch  is  shown  at  Fig.  131, 
the  radial  or  joint  lines  being  exhibited.  These' 
lines  are  drawn  from  the  centers  in  all  cases. 

The  diagram  shown  at  Fig.  132  represents  an 
equilateral,  Gothic  arch.  This  is  drawn  with  the 
compasses  set  to  the  width  of  the  opening,  one 
leg  being  placed  at  the  junction  of  the  sprincring 
line  when  the  other  leg  describes  the  curv^e  of 


Fijr.    132. 


fig-   «33- 


one  side.     The   same  process  forms  the  other 
side  of  the  arch. 

The  completed  equilateral  arch  is  shown  at 
i'^S-  t;,;„  w,th  th(.  method  of  laying  out  the 
curves.  7  he  centers  being  X  and  Y.  As  before 
stated,  the  joints  in  all  these  arches  should  be 
struck  at  nght  angles  to  tangents  of  the  curve, 
which  m  the  case  of  arcs  of  circles  will  cause  the 
joints  to  radiate  to  the  center  from  which  the 
curve  is  struck.  There  are  cases,  however 
when  th-s  de  cannot  be  followed,  as  take  the 
last  dlustnion  Fig.  13;,.  for  instance,  when  the 


^j 


I    I 


I 

i  S! 


I 


-  *  1 


136 


ARf  HITKCTUHAL    ORAWINO    SELF  TAUOUT 


I 


I'iK-    '54 


bonding  is  not  what  a  good  workman  would 
desire,  yet  it  is  better  than  the  bonding  shown 
in  Fig.  134,  though  perhaps  not  so  handsome; 
that,  however,  is  a  matter  of  taste.  The  employ- 
ment of  the  method  shown  at  I'ig.  i;^3  gets  rid 
of  the  small  angle  closers  which  show  in  the 
crown  of  I'ig.  i.i4-    To  get  the  lines  properly,  as 

shown  in  Fig.  133,  run  up  the 
two  dotted  lines  at  an  angle 
of  fifty  degrees,  with  the 
springing  line  X  Y,  on  each 
side  of  the  arch.  These  are 
produced  to  cut  through  the 
curve  lines  at  C  and  I). 
The  joints  of  the  arch  from  X  to  C  are 
radiated  to  Y,  those  from  D  to  Y  to  X,  and 
those  in  the  upper  portion  of  the  arch  to  the 
intersection  of  the  two  inner  lines  at  B,  whereby 
the  bricks  at  the  crown  are  eased  off.  In 
pointed  or  two-centered  arches,  other  than 
equilateral,,  the  same  method  may  b.:  followed, 
the  angles  of  the  dotted  lines  being  greater  or 
less  as  the  circumstances  of  the  case  may  require. 
In  setting  out  gauged  arches  care  must  be 
taken  to  draw  first  a  middle  or  "key"  brick  at 
the  crown  of  the  arch,  the  'd:)ject  being  to  pro- 
viile  a  brick  t^^  resist  the  increased  strain  at  the 


I 


g-  '3S- 


ARCHITECT  HAL   DRAWING   SELF  TAUGHT  137 

point;  and  secondly,  to  have  the  effect  of  pro- 
ducing  an  equal  number  of  bricks  in  the  arch 
excluding  the  key,  so  that  it  may  ,. 
be  finished  the  same  on  each  side.  *' 

The   next  arch    is  drawn  upon 
the   same   principles   as   the  ogee 
curve  shewn  in  I'i^:.  135,  and  with 
the    construction    hnes   given    re- 
quires no  further  explanation.     It  is  defective  as 
a  scientilic  arch,  but  occurs  often  in  the  Deco- 
rated Period,  towards  the  end  of  the  fourteenth 
century,     .\fter   that    period    the    arches  were 
made   flatter,   examples  of   which   are  the  seg- 
mental,   or  two-centered,   and    the    Tudor,    or 
four-centered,  arches. 

To   describe    an    equilateral    ogee   arch,   like 
Fig-    136,   proceed   as    follows:     Make    \'Z    the 
given  span:  make  YX  equal  YZ.  bisect  YZ  in  A; 
£. ^x^ n    'J"  A  as  center,  with  A  \  as  ra- 
dius describe  the  arcs  Y  B   ind 
Z   C;    on    n   and   X    as  centers 
descrlbt.'  ^Uq  arcs  B  D  and  X  D, 
and  on  C  and  X  ds  centers  de- 
scribe  ;he  arcs  C   }■;  and   X   E; 

on    E  and  D  as  cen'crs  describe 
the  arcs  B  X  and  C  X. 

The  flat  oge.^  arch  shown  at  Fig.  137  requires 


188 


AM(  IIITKiTlHAI,    OKAWIN'U   »KLF  TAUGHT 


A  e 


some  little  different  treatment  to  the  previous 
onu.  To  obtain  the  proper  curves  and  centers 
for  this  style  of  arch  proceed  as  follows:     Let 

A  B  be  the  outside  width 
of  the  arch,  and  C  D  the 
height,  and  let  A  E  be  the 
breadth  of  the  rib. 

Bisect  A  B    in   C,  and 

erect    the    perpendicular 

C  D;  bisect  A  C  in  F,  and 

draw  1"  J  parallel  to  C  D. 

Through   D  draw  J   K  parallel  to  A  B,  and 

makt!  I)  K  equal  to  I)  J. 

I'Vom  ¥  set  off  I*"  G  equal  to  A  E,  the  breadth 
of  the  rib,  and  make  C  H  equal  to  C  G. 

Join  G  J  and  H  K;  then  G  and  H  will  be  the 
centers  for  drawing  the  lower  portion  of  the 
arch,  J  and  K  will  be  the  centers  for  describing 
the  up{)cr  portion,  and  the  ( ontrary  curves  will 
meet  in  the  linos  G  j  and  H  K. 

This  style  of  arch  is  seldom  used  in  substantial 
work  other  than  in  Gothic  architecture;  the 
carpenter,  however,  often  makes  use  of  it  in 
porch,  veranda  and  arbor  work,  and  sometimes 
in  grille  work,  so  it  is  well  to  have  a  knowledge 
of  it. 

Another    arch,   not    in   common   use,   is    the 


AHClIiTKi  1L|(.\I<    DHAWIXO   »ELF  TAUGHT 


ISO 


horseshoe  or  Moorish  arch;  two  examples  are 
shown  at  I-i^rs.  ,  ;S  and  ,;c).  In  the  (irst  the 
cur\-e  is  struck  from  a  center  situated  above  the 
sprin^inK  line.     This  is  said  to  hr  th(;  stron^'est 


Fig.  138. 


Fig.  139. 


of  all  arches  when  properly  constructed  and  is 
often  employed  for  tunnelinjr  and  other  heavy 
Mork  where  ^rrcat  resisting  stren^rth  is  required. 
The  figure  shown  at    i:,q  is  sometimes  called  a 
Gothic    horseshoe    arch     because    of    its    beinjj 
pointed.     It  is  somewhat  similar  to  the  last,  but 
IS  struck  from  two  centers.  I  and  J.     The  special 
peculiarities  of  these  arches  is.  that  they  arc  nar- 
rowed m  on  the  sprin-injr  Ii„es,  which  ^nves  to 
them  a  pleasin<r  ai)pearance. 

Often  arches  are  formed  by  havinj,r  them  two 
or  more  bricks  deep,  or  they  may  be  rouj,h  and 
turned  m  half-brick  rinjrs.  4.;  inches  thick,  as 
shown  at  U  in  I-^..  ,40.  In  arches  of  quick 
curve,  with  not  mon-  than  2  or  3  feet  radius, 
this  method  is  absolutely  necessary  to  prevent 


*Jl 


MICROCOPY   RESOLUTION   TEST   CHART 

(ANSI  and  ISO  TEST  CHART  No.  2| 


1.0 


I.I 


1.25 


14.5 
150 


2.8 


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If     1^ 


1.4 


2.5 


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^  yiPPLIED  INA^GE     Inc 

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T^  Rochester.    Ne«   Yorl<         14609       USA 

^=  (716)    482  -  0300  -  Phone 

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140 


ARCHITECTURAL    DRAWIXG   SKLF  TAUGHT 


very  large  points  at  the  ex  trades.  In  the  section 
of  portions  of  small  arches  shown  in  the  illus- 
tration, of  which  one  t^w  is  turned,  in  nine  inch 
rings  consisting  of  headers.     It  will  be  seen  that 


■-.  ly 


Fig.  140. 

the  mortar  joints  in  this  are  much  wider  at  the 
top  than  those  of  the  portion  /i/i,  built  in  rings 
half  a  brick  in  thickness.  The  line  of  joints  in 
both  these  examples  are  radial,  all  being  drawn 
from  the  center  point. 

The  most  common — so-called  arch — is  what  is 
termed  "gauged  straight  arches,"  and  with  these, 
in  brickwork,  the  draftsman  will  have  the  most 
to  deal,  and  I  purpose  showing  him  several 
examples.  Such  arches  are  in  very  common  use, 
and  are  generally  12  inches,  or  four  courses  of 
brickwork,  in  depth. 

The  sommering  or  splay  of  the  bricks  depends 


AnriiiTKCTiniAL  drawing  self  taught 


141 


upon   the   anule 


given    to    the   skewbacks 


or 

sprinprings,  and  varies  with  the  distance  of  each 
voussoir    from 
the  springing. 

The  s  k  e  w - 
backs  are  gen- 
erally inclined 
at  60°  from  the 
horizontal,  and  are  struck  by  prolonging  the  sides 
of  an  equilateral  triangle,  as  shown  on  Fig.  142. 
The  joints  give  a  better  appearance  when 
horizontal  as  at  B,  Fig.  141;  but  to  save  labor 
they  are  frequently  formed  as  at  A,  and  care- 
fully concealed  by  rubbing  over,  false  horizontal 
joints    being  marked    on    the    face,  though  in 

course  of  time 
the  true  joints 
are  sure  to  show 
up  and  expose 
the  sham. 
The    arch 

shown    at    Fig. 
.   s***  /  . 

142  is  sometimes 

called  a  French 

or   Dutch    arch. 

It  is  sometimes  used  by  builders  when  intended 

to  be  plastered  or  covered  over.     Such  arches 


i;#:: 


\ 

*       i 

>i  j^ 


IBii 


n 


142 


AHCHITKC'TURAL   DRAWING   SELF  TAUGHT 


are  unreliable,  and  the  draftsman  should  never 
make  them  if  intended  to  be  built,  unless  they 
are  to  be  built  up  in  good  Portland  cement 
mortar.  The  joints  may  be  arranged  as  shown 
at  A  or  at  B;  if,  as  at  A  only  whole  bricks  should 
be  used. 

Sometimes,  in  building  arches  of  this  kind,  it 
may  be  necessary  to  "plug"  the  brickwork  as 
shown  at   PPPP,  Fig.  143,  for  the    purpose   of 


If  < 


i 


Fig.  143. 


attaching  finished  work  to  them  by  screws  or 
other  devices,  and  the  draftsman  .nust  note  this 
on  his  drawings  in  order  to  save  future  trouble. 
The  manner  of  forming  the  skewbacks  is  shown 
in  this  illustration,  at  o  o;  the  angle  of  this  line 
should  be  about  sixty  degrees. 

In  placing  in  arches  of  this  kind,  there  must 
always  be  timber  or  concrete  lintel  behind  the 
face  bricks  to  carry  the  wall,  and  over  this 
lintel,  there  should   be    a  relieving  arch   built. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


143 


This  latter  arch  is  j^'enerally  built  up  roughly 
unless  it  is  intended  to  carry  a  great  weight,  then 
care  miTst  be  taken  in  its  construction. 

Betore  leaving  the  subject  of  arches  it  ma^ 
be  well  to  exhibit  some  examples  in  stone,  and 
should  the  student  never  be  called  upon  to 
prepare    drawings    for    such    work,   their  con- 


'i  i ' 

'   lis 


Fig.  144. 


struction  on  paper  will  make  good  practice. 
The  example  shown  at  Fig.  144  is  a  very 
common  one  in  stonework  and  shows  how  the 
style  of  work  is  prepared.  It  will  be  seen  that 
the  joints  are  generally  radial,  while  horizontal 
joints  are  formed  to  receive  the  stone  above. 

Another  style   of    opening   in    stonework    is 
shown   at    Fig.    14s,   where    the    head    of    the 


m 


144 


AHCHITECTURAL   DRAWING   SELF  TAUGHT 


-if    S 


PLATE  9. 

Plate  9  shov  s  three  examples  of  inside  finish — 
a  door,  a  window,  and  sliding  door  —  opening 
with  trim.  These  like  the  other  examples  shown 
in  Fig.  8  are  easily  understood. 


I 


V  J 

'I* 


.Iti 


\^ 


HI 


,*»'  'i 


PLATta 


^ 


^ 


\ 


i      ! 


1^- 


,!| 


m 


\l 


-i    iii 


ARCHITKCTirnAL    I)H AWING   S«^:i,F   TVlfiHT  145 

window    or  door  is  flat.     There  is  a   relieving 
arch  thrown  over  the  hntel  or  cap  u    :arry  the 

T 


Fig.  145- 

weight  over  to  the  jambs.  The  face  of  the 
window  is  all  of  dressed  stone,  while  the  walls 
are  formed  of  irregular  stones. 


Anot.ier  style  of  work  is  shown  at  Fig.  146, 
where  the  walls  are  formed  of  square  stones  laid 


lit 


fi^ 


^^11 


^11 


?l* 


IK 


140  AHCIIITKCTUHAL   DUAWINO   8KLK  TAfOHT 


if^^^h 


/^ ^ 


up  in  irregular  courses,  and  the  relieving  arch 
ends  against  a  regularly  prepared  skewback. 


AncilITKCnu.VL    I)HAWI.\(J    SKI.F   T  M  Gil  T 


147 


At  I- 


\^.  147  ar<;  irroui 


I  some  of  the  principal 
forms  of  arch  shown   in  architecture.     At  A  is 
the  semicircular  arch,  ilescribin^r  half    r  circle. 
B  is  a  form  of  ellipti.  al  arch,  not  unfrequently 
employed.     It  is  no     m  reality,  elliptical  at  all, 
save  in  appearance,  .jein^^  a  segmental  •  -,  i.  or 
one  formed  by  the  se^mient  of  a  circle,     ;    .h  is 
struck  from  below  the  springini^s.     The  elliptical 
arc.i  C  is  formed  of  several  circles.     The  stilted 
arch  I)  rises  from  [)oints  below  its  center.     The 
Gothic  nrchitects  employed  various  forms  of  the 
pointed  arch  at  different  epochs.     K  is  what  is 
usually  termed    an    equilateral   arch,  so  called 
because  the  two  sprin^in^r  points  and  the  crown 
of  the  arch  form  an  equilateral  or  equal-sided 
tr  anjrle.     F,  ti.     lancet   r     h,   is  more  pointed 
than  the  preceding.     It  W     truck  from  outside 
the  springings,  and  h-s  me  outline  of  an  isosceles 
or  equai-leg-  d  trian,  :<  ,  of  which  the  base  is,  of 
course,  less  t._n  the  suk-s.     G,  the  "drop"  arch, 
in  contradistinction  to  the  last  example,  is  less 
pointed  than  the  equilateral  arch.     It  is  struck 
from  within  the  springings,  ind  has  a  triangular 
outline,  in  which   the  base  is  longer  than  the 
sides.     H,    the    "segmental    Gothic     arch",    is 
composed  of  two  segments  of  a  circle,  meeting 
obtusely.     I,  the  "oj^ee"  arch,  was  introduced  at 


*i=i 


ii 


148 


ARCHITKCTUnAL   DRAWING   SELF   TAUGHT 


a   late   period   of    Gothic    architecture,   and   is 
struck  from  four  points.     K,  the  "Tudor,"  arch 
prevailed  during  the  close  of  the  Gothic,  and 
takes  its  name  from  the  then  ruling  family  of 
the  English  dynasty.     It  has  a  much  flattened 
arch,  low  mouldings,  and  a  profusion  of  panel- 
ings.     I  now  come  to  arches  of  the  form  that  are 
designated  "foiled"  arches,    imitating   the  foils 
or  leiflets  of  a  leaf,  which  are  generally  divided 
into  three  varieties,  viz.,  trefoils,  cinquefoils.  and 
polyfoils.      L,  M,  N  exhibit  three  forms  of  the 
"trefoil"  or  three-Iobed  arch,  O  is  an  example  of 
the  cinquefoil  or  five-lobed  arch,  and  P,  one  of 
the  "polyfoil"  or  many-lobed  arch.     The  latter 
form  is  principally  confined  to  Romanesque  and 
Saracenic  architecture,   and    is    especially   met 
with  in  Moorish  and  Saracenic  buildings.     The 
latter   people    also    employed    a   peculiar   arch, 
special  to  themselves,  and  generally  styled  the 
"horseshoe"    arch,    shown    at  Q.     This  is  only 
found  in  Arabic  or  Moorish  buildings.     The  so- 
called  "flat"  arch,  R,  is  in  reality  not  an  arch  at 
all,  though  the  voussoirs  are  so  arranged  as  to 
radiate  from   a  center,  and  arc  laid  in  parallel 
courses.      This  arch   is  employed  in  doorw^ays, 
windows,  and   fireplaces   of  buildings,  and   the 
intrados  arc  generally  supported  by   a   bar   of 


AKClUTEt  I'L'HAL    UKA\VI\(i    SKLK   TAICIIT 


14  J; 


iron  or  beam  of  wood.  In  some  very  ancient 
examples  the  voussoirs  are  cut  to  a  peculiar 
form,  with  the  idea  of  securing  great  stability 
and  strength,  as  shown  at  Fig.  148,  which  is 
copied  from  the  fireplace  of  Coningsbergh 
Castle. 

I  think  the  foregoing  illustrations  of  arches 
and  the  accompanying  description  are  quite 
sufficient  for  my  purpose,  as    the   student  can 


I  I 


\\\\\  r'MJJf^ 


I'ig.  148. 

gather  from  them  all  he  will  immediately  require 
to  know,  and  after  a  thorough  mastery  of  these 
examples  he  will  have  no  difficulty  in  obtaining 
a  higher  knowledge  from  the  thousand  and  one 
other  sources  that  are  available,  should  he  so 
desire. 


i  _ 
I  i  -1 


SOME  miscp:[.la\eou.s   practice 

Suppose  it  is  necessary  to  show  a  door  and 
casings  in  a  brick  wall,  with  jamb  linings,  grounds 


'fif 


150 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


1^ 


i 


, 


and  other  finishings,  we  commence  by  first 
laying  out  the  plan  as  shown  at  Fig.  149;  we 
decide  upon  the  height  and  width  of  door,  also 


Fig.  149. 

Style  of  door,  and  finish,  and  work  to  scale 
accordingly.  In  this  case  I  show  an  elevation, 
Fig.    151,   and    plan    respectively   with    a    four 

pandcd  door  with 
jamb  and  soffit  lining. 
Fig.  150  shows  a  por- 
tion of  the  plan  en- 
larged. 

In  this  case  it  will 
be  seen  that  the  door 
is  hung  to  the  jamb 
lining  itself;  the  lat- 
ter is  a' 'ached  to  a 
backing  da  dovetailed  in  between  the  framed 
grounds,  and  secured  to  wood  bricks  in  the  wall, 
the  edges  of  which  may  be  seen  in  section 
Fig.  152. 

In  some  cases  the  grounds  arc  tongucd  into 


' 


ARCHITE( Tl  HAL    DU.WVIXG    SELF   TAUGHT  151 

the    jamb     linings,    but     this     is    very    seldom 
done. 


I       A\ 


Fig.  i;: 


The  jamb  lininnrs  go  right  through  the  depth 
of  the  opening,  and  on  one  side  of  the  wall  have 
their  edges   rebated    to    receive  the  door;    the 


fmwi 


m 


152 


AKCHITKCTIHAL    DIIAWIXG   SELF  TAUGHT 


i 


■'V, 


A^-- 


^, 


'1e 


^I^Cj 


"t5.t  '^;i^  '^«^; 


XvN 


■»-7  '  rX.    , 


JiSlil   \ 


jfA 


edges  on  the  other 
side  of  the  wall 
being  (in  superior 
work)  similarly  re- 
bated  to  corre- 
spond. 

The  soffit  lining 
is  secured  to  cra- 
dling or  backing  c, 
consisting  of  rough 
stuff  attached  to 
the  under  side  of 
the  lintels  over  the 
opening. 

Of  course  the 
doorway  might  be 
spanned  by  a 
rough  brick  arch, 
or  by  a  concrete 
beam,  w  i  L  h  o  u  t 
wood  lintels,  i  n 
which  case  the 
framing  would  be 
secured  to  plugs 
let  into  the  arch 
or  beam. 

The      enlarged 


AiuniTECTrnAL  drawing  self  taught         153 

plan  in  Fig.  ,50  differs  slightly  from  lig.  149, 
inasmuch  as  a  smaller  architrave  is  shown  on 
the  inside  of  .he  doorxvay.     The  paneling  of  the 

soffit  lining  is  often  shou,.  in  dotted  lines  upon 

the  plan  of  the  (ioorway. 

The  whole    ele- 
vation of  one  side 

of    the    door    is 

shown  at  Fig.  151, 

and   a    section     is 

shown  at  Fig.  152, 

with  a   portion  of 

the  jamb  lining  re- 
moved. This  latter 

is  a  good  scheme 

as    It     shows    the 

workman    exactly 

what  is  required  of 
him. 

The   illustration 
shown  at  Fig.  153  shows  a  vertical   section  oi 
a  window  aid   frame  for  a  brick  hou. e.  .^ 

purposely  cit  short  in  order  to  show  all  tne 
parts.  It  will  be  readily  unde/stood.  as  \VL 
stands  for  wood  lintel,  b  j  for  botton;  joints. 
ib  inside  blinds,  etc.  Fig.  154  shows  the  same  win-' 
dow  in  f  levation  with  shutters  or  blinds  in  sight. 


I-'ig-  154- 


ji'i 


7},is|7i| 

}?.'■■ 


r^mi  v'^ 


WW! 


154 


AiMiiirr.crniM.  diiawinc  hki.k  taitgiit 


III 


.»  rri 


Thr  plan  is  shown  at  ]'"\^.  155.  'Miis  show;- 
thr  s'luttiTs  box  splayed  from  tlu;  \  .li'.  The 
(lotted  I'lus  show  the  shiilters  partly  folded. 

In  i-edrawin^  these  examples  the  student 
should  make  them  at  i.-ast  twice  or  three  times 
the   si/(>  sh.own    herewith;    this   can    readily   be 


Fipr-  155- 

done  by  taking  the  distances  on  a  compass  and 
transferring  to  th(;  i)aper  on  which  the  drawing 
is  to  be  ma(U\  If  the  drawing  is  to  be  twice  the 
size  of  the  original,  then  space  off  the  distance 
of  each  feature  twice,  if  to  be  three  times  the 
distance,  then  space  off  three  times,  and  so  on 
for  other  sizes.  Ry  following  this  advice,  the 
student   will   become   familiar  with   his   instru- 


k.  -.A^-.mif 


"mp 


AIWMITF.fTi;UAL    F.HAWINr;    SKIJ    TMfMIT  ].-, 


mcnt^ 


and    with    th(;    various    kinds    of 


In  leed,  this  work 


tenchor  of  [)rimary  d 


o 


bt 


is  int(:nfl«Ml,  ucsides  be 

TuUimr,    to    If;    a    hf;I 


aininy  som<-  knowlf-d^rf^  oi  archit 


work, 
in^/  a 
p';r  in 


<-'ctural  con- 


struction as  well;  for, 

it  is  supposed,  it  will 

fall   chiefly  into    the 

hands  of  young  stu- 

dents,  apprentices, 

and  fellows  who  have 

not  had  a  fairly  jrood 

opportunity    of     ac- 

quirinnr  a  Knowledge 
of  either  drawing  or 
construction,  but  who 
are  desirous  of  learn- 
ing what  they  can  of 
both,  during  their 
spare  moments. 

The  plates,  follow- 
ing the  general  illus- 
trations, will  place  before  the  student  many 
thmgs  not  as  yet  touched  upon,  but  I  ha-  e 
deemed  it  necessary  to  show  a  few  miscellaneous 
Items  both  for  practice,  and  because  of  their  con- 
structive value  to  the  young  builder. 
The  door  and  casing  shown  in   Fig.  156  is  a 


l"iii.  '56. 


:rfil 


'  »i 


156 


MU'iinrcnHM.  duawincj  ski.i   TArciiir 


^ood  ('\aiii|)l('  for  drawing;  its  proportions  arc 
noarl>'  perfect,  uul  tho  style;  is  modern.  This  is 
an  inside  door  as  shown  hy  thi;  base. 

The  sliding  (h)ors  shown  at    1' i<4.  157  an;  v(.'ry 
nearly  built  in   the  same  styh;  as  the  single  door 


shown  in  Fig.  156.  These  may  be  drawn  to  any 
special  scale,  or  they  may  be  transferred  from 
the  illustration.  I  show  a  section  of  the  wall 
into  which  the  sliding  doors  run  at  Fij.  158. 
This  drawing  show^  the  method  of  construction. 


AUCHITMirUAK   J)|{A\VI\(;   y.u.y  TvrtiirT 


l.->7 


the  end-wood  of  the  studdinjr  birinj^r  seen;  also, 
the  h'ninjrs  to  protci  i  the  pocket. 
The  ilhistration,  as  l"\>^.  1^9,  shows  a  method 


Fig.  I;S. 

of  adjustinjr  the  joint  at  the  junction  of  the 
doors.  The  section  shows  clearly  how  the  joint 
is  hidden  from  view. 

A  section  and  elevation 
of  trim  for  a  door  is 
shown  in  V'lvr.  160.  In 
this    drawinjr    the    door, 


th 


e    step,    the    stud,    the 


Fig-  I5'^ 


plaster  and  the  ti 


ran  are  shown  in  place,  and  at 


the  bottom,  tiie  plinth  block  and  ba 


%: 


se  are  also 


U8 


ARrillTECTUnAL   nRAWlXO   SELF  TAUGHT 


ft* 


shown  in  section.     This  style  of  finish  is  called 
"block  finish,"  because  of  the  turned  block  being 

placed  on  the  corner. 
Fig.  i6i  exhibits  a 
corner  of  a  balloon 
frame,  showing  the 
manner  of  placing 
the  studs,  corner 
boards  and  other 
finish. 

I  show  at  Fig.  162 
a  drawing  of  a  cor- 
nice for  a  balloon 
frame    house.      The 


"" 

■ 

(g) 

J 

i 

A 

~i 

2x4 


v^V 


i.,..6'-. 


Fig.  160.  Fig.  161. 

method  of  construction  is  made  quite  apparent 
and  can  easily  be  followed.  The  walls  are 
boarded  or  "sheeted"  on  the  outside,  and  then 
covered  with  siding  or  clapboards. 


rr^^r^ 


AliriinK'TlHAI.    DKAUIXO   HKLF  TAliOIIT 


I.i0 


The  next  drawinj^,  Vv^.  163,  shows  a  section  of 
a  corner  for  a  brick  wall.     Tht;  j^uttcr  and  com- 


Fij,f.  1(12. 

plete  finish  for  cornice  arc  shown;  also,  an  iron 
rod  or  anchor  built  into  tiu-  wall,  havin^^  a  nut 
on  the  top  wh'  "       .  intended  to  hold  the  i)latc 


ll 


fi 


,.»';  i' 


*'^-'VW3«vmj. 


100 


AltCIIITECTUUAL    UliAWINU   »tLJ     lAlOIIT 


PLATE      lO. 

This  plate  shows  a  number  of  details  half  life 
size.  A  portion  of  elevation  and  section  of 
trim  head  are  given,  also  section  of  casinjjf,  picture 
frame  mould,  plinth-block,  base  and  floor  step. 
The  face  of  plinth-block  is  also  shown. 


Tc^^^'^^Ssf^!?'?'^'^!^!^^!^ 


'5- 
i 


't 

i 

7S?^7r?s7af  ,!3*S5a 


/   /     ,1 
/   /     / 

//  / 


'  {, 


I  u 


p)/- 
p 


!     !l 


\. 


P'l 


V 


\ 


/A/ 
I  i 


'    r'\     \ 


Vil 


~,\ 


M(P1^ 


J » 
1  lA 


m 


l-f 

k 

.  '* 

a 

*4i 

■? 

, 

*1, 

f 

,* 

l^ 

tf 

4 

4, 
1 

m\ 


vfi.^ 


■.U>: 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  161 

in  its  place  on  the  wall.  A  section  of  a  box 
window  frame  is  shown  at  Fig.  164.  The  weights 
are  seen  in  the  box,  the  stud  forming  part  of  the 
box.  This  is  designed  for  a  balloon  frame 
house,  and  it  wul  be  seen  that  the  inside  trim 


Xx  3 
IRON  AKCHORS 


t  X  <  V  o      o  \ 

i  X  10  \  \ 


V^,     ,^.A- 


'Fig.  163. 

forms  one  side  of  the  box.  This  is  an  exceed- 
ingly cheap  way  to  make  a  frame  as  but  very 
little  stuff  is  required  in  its  construction. 

The  section  of  window  frame  shown  in  Fig. 

165  exhibits  the  portion  cut  at   the  sill.     This 


ft.. 


t 


ml 


i 


162 


ARC'HITKCTl'HAL    DHAWIXG   SKLF   TAUGHT 


Fig.  164. 


shows   the   construction    of   the    frame   at    the 
bottom,  including  inside  and  outside  finish. 

It  will  be  in  order 
now  to  fo'low  the 
plates  I  have  pre- 
pared, in  which  a 
large  number  of 
constructive  de- 
tails are  presented. 
I  would  advise  Lhat 
the  student  copy 
each  item  as  pre- 
sented, making 
each  one  twice  the  size  as  shown  on  the  plates; 
this  will  make  instruc- 
tive practice  and  will 
soon  fit  the  young 
draftsman  for  work  of 
a  higher  and  more  elab- 
orate kind. 

The  foregoing  illus- 
trations have  been 
especially  prepared  and 
drawn,  with  a  view  of 
leading  the  student  by 
easy  steps  to  a  fair  knowledge  of  the  use  of  his 
instruments  and  th<:  laying  out  ot  work  on  paper. 


Fig.  165. 


ARCHITKCTl  RAI,    DitAAVING    HKUV  TAIGIIT 


().'} 


Each  item,  too,  has  a  constructive  value,  as 
all  are  drawn  from  examples  of  actual  work, 
and  will,  therefore,  convey  in  some  measure  a 
true  knowledjre  of  construction,  without  v/hich 
the  work  of  the  mechanical  draftsman  has  but 
little  value. 


Strtight  Line. 


Curred.Xine. 


Fig.  i66. 


SOME    ORXAME'  taI,    E.XAMPI.ES 

We  have  nov  reached  a  stajre  whrre  an 
attempt  at  orn  ntal  jreometrical  drawing  is 
permissible,  and  .lough  it  is  not  my  intention 
to  go  deeply  into  this  subject,  a  few  examples 
along  with  brief  descriptions  win  j^robably  start 
some  of  my  readers  on  a  course  of  drawing 
extending  far  beyond  the  limits  of  this  work. 

This  kind  of  drawing-like  most  other 
drawing— is  composed  of  straight  lines,  curvc-d 
lines  and  mixed  lines,  as  shown  in  I-'ig.  i66.  but 


164 


AIKIIITKCTUHAI.    DRAWING    SELF   TAVGIIT 


,uch  lines  arc  regular,  and  are  made  by  the  aid 
of  compasses,   or    oth^r    ins    uments,  and    this 


fact    distinguishes    geometrical    drawings    from 
drawings  wrought  freehand.     Suppose  we  desire 


-9-r 


I 
I 


FiK'.  169- 


/ 

Fig.  170. 


Fig.  171. 


to  show  a  square  diagonally  either  for  ornamental 
or    practical    purposes,  we    simply   proceed   as 


Ai{riTiTK(Trr<\i.  drawing  sklf  taicjiit 


HW 


'.ff 


follows:  Figs.  167  and  168  show  the  diagrams; 
join  the  lines  a  b,  c  d,  Fig.  167,  crossing  at  e,  as 
shown  in  Fig.  168.  Take  half  c  d,  I'ig.  167,  as  c 
e,  and  set  it  off  from  m.  Fig.  168,  to  e  h,  g  f; 
join  these,  and  parallel  to  them  draw  the 
internal  squares  and 
we  have  a  figure 
more  or  less  orna- 
mental. Again,  sup- 
pose we  desire  a 
"lozenge"  or  dia- 
mond shape;  this 
can  be  accomplished 
by  a  similar  method 
as  shown    at    F"igs. 

169  and    170.     Vig. 

170  shows  the  man- 
ner in  which  it  is 
drawn;  two  lines  c  b, 
and  e  d,  intersect  at 
a;  a  c,  a  b,  a  e,  a  d, 
are  each  equal  to  half  of  a  b,  e  f,  Fig.  i6c);  and 
a  h,  a  m,  a  g,  a  f,  Vig.  170,  to  half  of  h  m,  e  d. 
F""ig.  169.  Let  us  put  one  of  these  examples  to 
some  further  purpose;  this  is  dc^ne  in  Fig.  171, 
which  shows  how  this  style  of  drawing  may 
be  used  for  filling  in  spaces. 


Fig.  I- 


st  I 


■'■*  . 

y.n 


^*'. 


ICO  AHCIUTKCTUUAL    DUAWINtJ   SKI.F  TAUOIIT 

Tho  example    shown   at    l'i<;.    172  exhibits  a 
method    of   drawing'  a   (Icsi^ai    for   a   diamond- 
shaped    pattern. 
a     &     e      a      e     ^    '\\\(\    dotted    lines 
*       \i/  \  //x  /jrX  /     /    /      show  the  construc- 

/        tion,    the   distance 

/  between    the    dia- 

mond  as  e  f  g  h,  a 

b  c  d,  being  equal 

Pij,   ,,3.  to  the  distance  a  f, 

a  d  e.  The  use  of 
this  is  probably  shown  at  Fig.  173,  when  a  design 
for  tile  patterns  is  shown,  the  lines  a  b  c  d  f  are 
drawn  to  the  angle  shown  and  are  parallel    to 


Fi^^  174- 


each  other,  the  distances  being  shown  at  i  h  g. 

Another    illustration    of    a   square   being  set 

diagonally  is  shown  at  I'ig.  174,  which  illustrates 


AnniiTKcn  i;\i    unwvisc  ski.k  T\r<iirT 


Ui' 


an  open  Ijalustradc  id  ( iotliic  st>  !«•.  'Ilic  student 
should  have  no  diffK  utiy  whatever  in  hi\in^r  this 
diagram  off,  as  it  i>  a  very  simi)l(:  matter. 

I*'««-  '75  'in<J  i7(>  show  a.iot'   .-r  (h;sijrn  having 


'•"'■fs'.  '7?.  FiK^  1-6. 

six  sides,  which  is  oft(;n  (MTiploy(.'d  in  decoration 
and  in  (iothic  architecture.  The  manner  of  lay- 
ing it  out  is  shown  in  I-ig.  175.  and  comph:ted 
figures  are  shown  at  I-ig.  176. 


i-,i 


I  he  same  figure  in  conjunction  witli  the  square 
is  shown  in  finished  work  at  Fig.  177.  This 
represents  a  perforated  balustra(k,-  or  parapet; 
the  curved  lines  are  olitained  by  the  compass, 
centers  being  easily  found. 


i      -T- 


■-■i 


ir.8 


MM'MITKCTIMl.M.    DUAWINC    SKI. I    TvrdllT 


A  Still  more  complicated  lij^iirc  is  shown  at 
I'ig.  17S.  This  may  be  formed  as  follows:  If 
th<'  points  I  J.  j;,  ,^4.  45.  >,(■),  67.  7S  are  joined,  an 
octagon  will  l»e  formed,  and  a  square  hy  joininj^ 
()  10,  i^  II.  riu;  octagon  forms  the  basis  of  tlu! 
combination,  and  is  the  first  thinjj  to  be  drawn. 


Fig.  i-S. 


which  may  be  done  as  in  Fig.  179,  by  forming  a 
square,  and  thereafter  an  octagon  the  side  of 
which  is  equal  f  e,  f  g.  l)raw  lines,  i  i  m,  distant 
from  each  other  equal  to  the  distance  between 
the  rhomboids  in  Fig.  178.  Parallel  to  the 
diagonal  lines  c  b,  a  d,  draw  lines  equal  to  i  i. 
From  e,  one  end  of  the  octagon  side,  draw  a  line 


If! 


AFM  IIITHTIKAI,    DRAWING   HKI.K   TAI  (llll 


10» 


perpendicular  to  <  d,  joining'  the  diagonal  a  d 
in  h.  I'Voni  n,  the  end  «»f  anoth.rr  side- of  the 
octa^(on,  draw  parall(tl  to  e  .'  ;i  lin(;  cutting  the 
diaj^onal  d  a  in  o,  parallel  to  e  h,  k  t;  draw  lines 
p  t,  n  s;  two  of  thf;  rhomboids  will  thus  he 
formed;  the  remainder  are  rlrawn  in  a  similar 
way.  These  beinjr  ohtain(;d,  the  squares,  as  in 
I'i^.  178,  inc.  easily  drawn. 

Some  ^ood  exami)les  in  strai^^ht  line  work  are 
shown  in  the  foilowinjr  illustrations.     Thu  .,  we 


A?V^ 

\x 

XXa 

X 

^ 

XXCX' 

x>m7 

Fig:.  '-9- 


Fig.  Ho. 


see  by  makin<r  dia^rona!  lines,  as  shown  at  Fitr. 
i.So,  the  character  of  the  example  becomes 
ornamental,  and  this  may  be  very  much  changed 
again  by  the  introduction  of  small  circles  at  the 
junction  of  the  lines,  as  shown  in  one  instance. 
This  may  again  be  elaborated  by  adtling  a  line 
or  dot  to  the  circle  as  shown. 

Another  example  formed  of  squares  and  half 


^1 


iro 


\m  imn  M  km    himwim;  si m    ixrciir 


•^tui.ircs  issluiun  ill  I  j.^.  iSi.  '\'\\[-  ur  in-Minrnl 
shows  hou  ■■'-(|ii. ires'  m.i\  l.r  p|. i.  rd  M)  as  to 
fxhiliit  stars  <>i- ciIk  r  iMiinicd  uniamrnts.  Tlu: 
sIkuIciI  portion  shows  ili     --Mr  li'^iirr. 

Another    example     partakint^    of     the    same 
nature     is    shown    at     IIlj.    1S2.      d'his    ma>     In; 


fTv^T- 


\ 


/ 


_I'-/L' 
< 


/  \ 


n/\rnx\i-i 


•  li'',    I  S  I . 


Vk:.  ist 


termed  a  basket  pattern  and  is  formed  of  iiitt-r- 
lacin*,'  straps.  'I'his  |.attern  is  an  e.xceechn^rly 
jj^ood  one  for  exercise,  as  it  is  composed  of  short 
lines  and  re(]iilr;'s  careful  work  to  ])re\(  nt  over- 
'ippini,r,  which  Avould  spoil  the  work.  In  startinj^ 
d  endin;_^  a  line,  endeavor  to  have  the  line 
clear  and  distinct  and  of  an  even  thickness  as 
shown  in  the  example.  Lin(;s  must  not  be  left 
short,  but  must  join  the  cross  lines  as  tho-ij^h 
they  were  under  them.  To  draw  a  panel  of 
interlacinf,^  strap  work,  as  shown  in  example, 
without  a  flaw,  i^  fairly  good  workman. hip. 


AK'  nil  I  I    I  I   II  \t.     liltWVISr.    Hill      IXMilll 


171 


I  li«-  ••xaini.lr  shou  ii  at  I  i^;.  t-S'^  i^  a  littlr  tiu)n; 
clilficsilt  to  \,\i)[  (}\\i  than  (  ith<r  of  tlir  pnvions 
OIKS,    and     ilic    >tii»|«rit     will     ha\»;    lo    iis'-    hi?, 


I— _  I          i.         I  I 
I 1  ,-    --^^  I — '  I 

I !      ,-, 1   I — 1   r-,-r— 


'r  '  in  1  If  "1  !  In  . 

,   I  ,   -  4  Li   i   (   ^  ,   j-.J.  i   ; 

"rTllv 

Ua  I       L  J      ,       '         —       !       ■ 


J 


rive.  i<v 


I   ■\,'.    1*4. 


coin[)ass('s  and  Mt  sf|uar(-s  anfl  cxfrriM:  consid- 
'•raMc-  jiid^mcnt.  This  «:.\anipl<:  is  a  stra[Av<jrk 
fret,  and  i^  a  ^Mod  on<;  to  follow  for  (^ractic^. 

V\<^.  i,S4  is  a   modifica- 
tion   of  th«:      ani<:    orna- 
ir;«-nt,  a  (juartcr  ( irclc  l;e-     [ 
in-,^  used  on  all  i;.\tf'rnal   ^^ 
an_i,des  instead   of  havin'^ 
the  lines  join  with  a  riLrht 
an<,rl(.'.     In  other  words,  the  ornament  is  a  com- 
bination of  curves  and  -.raiudu  Hnes. 

Copy  these  e.\am[.l(.'s  four  or  rive  times  and 
you  will   be  astoni-hed   at  \(.ur  own  expertness. 

lor  i^ractice    I  offer  a  few  virni/ie  exatnplcs  of 
frets;  the  tirst  three  !iLriire>,  1S5,  iS^xand  1^7.  are 


F-^    H.. 


HI- 


■rfff?;: 


si  I 


17^2 


AI{fllITF,(TT  HAL    1)HA\V1.\(;    SKLF   TArCHT 


Fig.  1 8  6. 


purely  Greek  examples,  the  first  being  the 
simplest  form  of  running  (ireek  fret.  Its  con- 
struction  is  very  simple  and  easy,  and   may  be 

reproduced  with  a 
T  and  set  squares 
alone.  I-'ig.  185  is 
constructed  nearly 
in  the  same  man- 
ner, there  being 
two  more  angles 
in  the  latter  than  the  former.  The  next  fret  is 
a  little  more  difficult  to  lay  off,  but  I  appre- 
hend the  student  will  have  no  great  difficulty  in 
producing  Fig.  1S6. 

Another  style  of  fret,  partaking  somewhat  of 
the  arabesque;,  is 
shown  at  I'ig. 
187.  This  can  be 
repeated  or  con- 
tinued at  will. 
After  drawing 
one  complete 
figure,  its  combi- 
nation will  prove  quite  easy,  though  some  little 
trouble  and  cj.re  will  be  experienced  in  forming 
the  first  complete  figure  as  shown. 

At   Fig.    188  a  very  diffcn-ent  kind   of   fret  is 


Fig.   187 


Cm'  v.. 


ARCHITKCTVUM.    DHAWIXG    SF.I.F   TAIGIIT  173 

This  is  composed  of  different  figures,  as 
-i  (   forms  ■>  complete  square,  a  number  of  which 
:iV:  set  off  at  regular  intervals,  then  arrange  so 
that  the    points  a 
od  will  be  covered, 
by  the  points  b  o  c, 
and    continue    the    ■ 
fret  to  the  required 
length. 

In    working    or- 
naments      havin<» 

curved  lines  in  them,  many  examples  can  be  pre- 
sented, but  I  do  not  intend  to  illustrate  more  than 
I  think  will  be  necessary  to  enable  the  student 


1 


e- e 


Bi 


m 


Fig.  i88. 


I 


.{ 


Y  .r  -\.\ 

I 
\ 


:/^. 


\\ 


^■> 


Fig.  189 


to  fairly  understand  the  principles  on  which  the 
ornamentation  is  based.  The  diagram  shown  in 
Fig.  189  will  suggest  to  the  draftsman  something 
of  the  method  in  which  combination  of  circles 


174 


AK(  IUTi;(  TLKAI.    UUAWl.NG    HKLF   TAIGIIT 


l 


may  be  used  for  ornamental  purposes.     Mere  a 

(liai^onal  square,  c  d  f  ^,  is  first  formed,  one  side 

of  which   is  equal  to  the  (Hstance  between  the 

centers  of  the  circles,  as  a,  b,  c,  d. 

■— ^  The  radii  of  the  circles  described 

..^.,     from  the  points  d  c  <^  f  is  equal  to 

half   the  side,    as    d    m,    f  n,    etc. 

t^  Exemplifications  of  this  ri<^ure  are 

often   found  in  (lOthic   perforated 

parapets  and  similar  work. 

Another  class  of  drawing  is 
shown  in  V\^.  190,  where  parts  of 
circles  and  strai<^ht  lines  are  used 
in  order  to  form  the  ornament. 
In  order  to  makti  this,  j)ro(eed  as 
follows:  Draw  the  base  line  b  first,  then  make 
a  b  at  ri^dit  angles  to  the  tirst  line.  The;  respec- 
tive depths  of  the  moulding  must  then  be  meas- 
ured off  on  this  line,  as  d,  h,  m,  o,  and  r,  /,  t, 
show  the  center  line  of  the  torus  s,  and  e  f,  and 
u  V  show  the  centers  of  the  ogees,  and  g  n,  the 
quarter  round.  Mere  in  this  example  we  have 
most  of  the  mouldings  in  use  in  architecture — 
the  ogee,  or  cyma  recta,  and  the  reverse  ogee,  or 
cyma  reverse,  the  torus,  the  astragal,  the  quar- 
ter-round, and  the  fillet. 

Fig.  iQi  shows  a  tlesign  for  a  baluster  that  can 


'K-    '9'^ 


uL 


'.         .r^    . 


AIU'lllTIXTrUAI,    1)HA\V1.\<;    SKI. I     TAlCillT 


I  to 


readily  l)c:  drawn  1)\  the  studiiu.  as  tlic  cent  rs 
for  the  various  curves  are  L^ixen.  The  center 
of  the  lower  curve  is  at  a;  centers  for  the  upper 
curves  may  be  foiu^.d  1-y  drawini^^  a  line  c  b;  from 
a  and  b  describe  arc  s  cuttin^^  in  d,  with  radius  d 


Fig.  KM- 


Fii(.    IV-. 


a  describe  an  arc  cuttini;  the  line  c  d  in  c;  c  in 
the  center  of  tlu:  curve  which  is  continued  to  the 
dotted  line  c  b;  a  strai^du  line  is  then  continued 
to  the  nc-ck  of  the  baluster.  The  other  curves 
and  lines  arc;  readily  obtained. 

'l"he  urn-shapc;d  ornament  shown  in  I'ij^.  \<-)2  is 
somewhat   more  comi)licated  than   the   previous 


170 


AKClllTKl  rUIlAL    UUAWlXtJ   SKLF   TAIGHT 


8*1 


P 


H 


t 


:X'- ' 


, 


.VV: 


il^" 


PLATE  II. 

Plate  1 1  shows  four  doors  of  the  style  to  be 
used  in  the  cottage.  These  doors  are  drawn  to 
a  scale  of  one-half  inch  to  the  foot.  The  same 
character  prevails  in  these  four  examples,  the 
sliding  doors  being  merely  one  of  the  second 
floor  doors.  The  front  doors  are  chamfered 
around  the  panels  instead  of  being  moulded,  as 
the  others  are.  The  front  and  rear  door  maybe 
fitted  WMth  glass  if  so  desired,  in  the  second 
panel  from  top. 


^)- 


I 
I 


ill 


»  7 


V 


Plate.II. 


StcoWo  Fu!R.    D2?H 


^Lipir^G    D°°R^ 


^-•VOKSI 


TE.II. 


-:«= 

~}' 

■     t 

// 


/. 


I        'j 


DoeR^  ; 


R^\  D??R^ 


I 


^^ 


III 


'-^ 


I 


^'i 


u 
j^ 


Fr^i^T'  D;°R^ 


111 


p 

I 

L  ■ 

? 

1 

if 

I 

■I 

1 

^mmi 

-    1 

Hh 

B 

F^^^ft    i 

■! 

t'^^B  i 

fHfli 

;i 

" 

if 

^ 

■  ;    jgi^B 

1 

i  1 

'■    •■! 

^^^^^S  ^ 

HsmK 

■     ■■                 ' 

«[ 

- 

n< 

i     P 

^B; 

H[ 

1 

^^^^^^R  ' 

fi 

n 

■  1 

n[ 

■ 

B^B  ^ 

i 

Ih 

v^^ 

Br ' 

pHMUJ 

4. 

ARflllTKCTlTRAL    DUAWI.NO   »KLF  TAUGHT 


177 


Fig.  195. 


example.  It  is  suite' 1  to  many  purposes,  par- 
ticularly that  of  terminal.  To  form  it  we  first 
«lraw  a  center  line  b  h,  then  the  base  a  b,  c  c, 
the  fillet  (1,  and  the 
turved  lines  f  f,  jr 
g;  (  f  and  e  e  are 
the  centers  of  the 
circles;  join  g  h; 
bisect  it  by  the  line 
i  i,  cutting  g  g  in  k  k;  from  k,  with  the  radius  k 
h,  describe  arcs  g  h,  and  the  line  n  n,  the  centers 
of  the  cap  moulding  are  found. 

The  last  three  examples  are  of  a  purely 
practical  kind,  and  their  determination  suggests 
many  other  forms  which  will  doubtless  appeal 
to  the  student's  imagination. 

The  ornament  shown  at  Fig.  193  is  called  a 
Giiillochc,  or  chain,  and  is  formed  by  concentric 

circles  overlapping 
each  other.  This 
pattern  is  easily 
drawn  with  com- 
passes, but  is  here 
given  as  a  freehand 
study,  in  order  to  give  the  student  an  exercise 
in  severity  and  accuracy  of  form. 

Figs.  194  and  195  are  studies  of  the  wave-line. 


Fig.  194. 


i-i  j 


ji 


i 


i 


'~^  Ai.Tiiii' (H  i!\i.   iiiiWViM;  .si:i,i     I  \i<;iiT 


'rii''\-  arc.  in    f.ui, 


IK-    (Nina   rrcia    rcpratcd,  ilic 


depth  hciivr  lt->N<-ii<'(l   in  I  i.;.   k,^. 

Ml;-.  H)')  is  a  stu(l\  nf  the   chiiiciitar)  Iin«s  of 
a  nmiiiii;.;  st-roll,  Innncd  of  ilu-  waxc-liin',  with  the 

addiiioii     ()|     spirals. 

;;;;:—     Cuvr   iiiiist   lic    takcM 

in    (h-aw  in^x  these  spi- 


ral 


>«)     that      th( 


y 


■y    "y> 


and  font I'luous  manner. 


nia\'    prociM' 


d      I" 


I'oin 


the  stem  in  a  smooth 


Tl 


\rv  siK'uld  stall  as  a 


(       iiniiation  of  the  waxc-liiu;  so  ^j^raihiall)',  that 


if  tlie  stem  lieyond  the  spiral  were  rt^moxcd  th 
scroll  would  he  perfect,  and  that  if  tlu.-  scroll  wer 


'«•   "97 


emam     imin- 


taken  away  the   waAc-line   woidd    r 

jured.      1  his  should  also  he  the;  cas(;  in  l'i;j^.  197, 

in  which  tendrils  are  added  to  the  scrolls. 


%^  -Kr  ■■>•  _ -,,  -*_?i:»^5a»^'?TOas?iBsi*^s^ 


Al((  llHl,<  1 1  livi.    iil;\\\f\(,   >i  1,1     i\i«.iii 


I7!» 


M;^.  !</''»  i''  -i  fiirilii  r  clalioiMtloii  III  t  li<-  s.iiiii; 
(Itsign,  tlir  lints  l)(-in;,f  <li»iilil<(I. 

\\'fX'  100  '^  ai)(jtli<r  ^impli'  ninriin_r  |);iti<Tn 
h.iscd  on  the  \v.i\ c-linc. 

The   example  >h»j\vn    .ti    I  i^f.   20;  i^  an  orna- 


mental  nKuildin'^'  aJapti  d  fur  \\()()i|-(ar\  in;^,  and 
gi\-cs  tlie  pattern  and  half  the  reiM-it. 

Ha\in(,,r  drawn  the  ujipi-r  and  losM-r  liori/imtai 
lines,  draw  A  15,  C  1),  h.  1-.  ami  (1  II;  th(; 
distance   Ixjtween   them    heiriL,"   '-qua!.      Thiin    it 


ill  be  seen  that  (,"  D  and  (.II  art-  tht- center 
lines  of  the  heart,  and  that  A  I)  and  I{  I"  are  the 
center  lines  of  tlic  tMh^rmj  ^r  leaf  LeLween  thi^ 
hearts.  Xow  draw  the  curvf  I,  and  !>alancf  it 
hy  the  curve  1. 

It  will  of  course  he  uniler>tooii   that   althuuudi 


f'-ma 


I  HO 


AIM  IIITM-n  ll.M,    l>|(AWIN(i    HKI.K  TVIOIIT 


i  1  1 
IE  > 


i! 


the  instructions  and  l«»tt<'rin^;  refer  to  the  com- 
plete fi^Mire,  it  is  intended  that  the  corresponding,' 
lines  in  the  repeat  are  to  l»e  drawn  at  the  same 
lime;  -n  fact,  whatever  lenjjfth  of  tin-  mouldin^r 
is  to  he  drawn,  these  divisions  (-r  compartments 
should    be    first    set   out,   and    the  single  curve 


Fig.  loo. 


drawn  in  each  before  proceeding'  any  further. 
On  no  account  should  one  portion  be  completed 
before  the  oiIkts  have  been  sketched,  for  as 
each  set  of  curves  is  drawn  the  drawing  becomes 
more  complex,  and  the  difficulty  of  accurate 
balancing  is  increased. 

When  these  curves  have  been  completed,  the 
interior  ones  which  depend  7ipo>i,  but  are  not 
parallel  /o  them,  are  to  follow.  In  drawing  these 
the  greatest  care  is  necessary  so  that  the  curves 


\Ui  IIITfrTIUM.    |iU\\VI\(.    -iKI.J     l\l<,iri 


IHI 


may  run  j,'ra(<fully  downwank,  the  s(*a(«- 
b«*tw(M'n  th<-  inner  an<l  outer  curves  becoming,' 
j^radually  narrower. 

The  center  r>''»rt  at  C  is  now  to  be  drawn. 
f(jllowin^^  tin;  plan  already  laid  down,  viz.:  to 
draw  first  th<-  le-ft  an<l  then  the  rij^ht  side  <jf  th<: 
ri^rure;  and  after  this  the  leaves  between  thr- 
he:  re  to  be  drawn  in  th«;  same  manner. 

'i  ..  i>att(.-rn  shown  at  I'it,'.  201  is  for  a  runnin^^ 
arran«,'fd  so  as  to  n-jxat;  (i  will  thr-refor*-  join 
on  to  //.  and  thus  the  d«si^rn  may  be  coiu.nued. 
It  will  be  seen  tiiat  in  onh-r  to  ♦quali/e  the 
spacers  so  as  to  carry  (jut  thi>  arran<rement,  the 
whole  is  divided  intcj  squares,  and  the  central 
Hower  is  placed  on  the  intersection  of  the 
diagonals. 

In  commencinjr  this  design,  the  general  form 
is  to  be  sketched  of  each  scroll  risin^r  out  of  the 
previous  one.  At  this  stage  no  notice  should 
be  taken  of  the  husks  or  foliage  r  d,  etc..  but  the 
scrolls  should  be  sketched  as  if  consisting  of  the 
main  stem  only,  and  the  husks  should  then  be 
drawn  outside  the  original  form. 

Great  care  must  be  exercised  to  insure  the 
smooth,  spiral  character  of  the  curves.  There 
must  be  no  an'jrular  breaks,  but  the  eye  must  be 
carried    onward    towards    the    center   of    each 


18'-2  Ai{(  iiiii;*  riHAi.  uiiWViNCi  ski.k  TAVcirr 


I 


■iP 


AFKIIlTKCTrUAI,    l)I{A\VI\(;    SIM.l      lAt(;||'r 


IS.'5 


scroll,  and  the  luisks  nuist  .ippcar  as  additions, 
but  not  as  excrescences.  In  order  to  test  tin? 
correctness  of  the  forms,  turn  the  sketch  upside 
down,  place  it  vertically,  or  in  any  other  direc- 
tion, and  if  the  desi<,rn  has  been  correctly 
sketched,  the  scrolls  should  be  equally  perfect 
in  whatever  position  they  may  be  viewed.     This 


rii^.  ;oi. 


Fi;_!f.  205. 

should  be  repeatedly  done  durin^r  the  projrress 
of  the  work,  so  that  any  part  which  may  be  too 
full  or  too  flat  may  be  improv(;(l  before  th(; 
husks,  flowers,  foliage,  or  other  details  are 
added. 

The  ornament  shown  in  Fig.  20:;  is  calh-d  the 
pAJiiniis,  the  egg  and  tongue,  or  egg  and  dart 
moulding.  It  is  much  used  by  carvers  for 
borders  and  similar  work. 


184  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

The  moulding  shown  at  Fig.  203  is  the  Greek 
astragal,  chaplet,  or  knuckle-bonc  ornament; 
this,  also,  is  quite  a  favorite  moulding  with 
carpenters  and  cabinet-makers,  because  it  can 


Fig.  204. 

be  turned  in  a  lathe  and  then  split  in  two  .-r 
quartered. 

Fig.  204  shows  the  Greek  conventional  lily 
form.  It  has  a  faint  resemblance  to  the 
Egyptian  lotus,  but  has  a  Grecian  delicacy 
about  it  that  is  absent  in  Egyptian  forms. 

The  Oi  namcnt  shown  in  Fig.  205  is  th«^  Greek 


AncniTEf'TURAL   DRAWIN'G   SELF  TAUGHT 


la- 


.Inlhcmion.  This  is  a  very  good  example  for 
practice.  It  can  all  be  drawn  by  the  aid  of 
compasses. 


Fig.  205. 


The  border  shown  at  Fig.  206  is  purely 
Egyptian,  and  is  partly  made  up  of  the  open 
lotus    flower    and    the    bud.     This    is    a 


very 


186 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


common  ornament  for  stenciling,  incised  work 
and  low  relief  carving. 

A  circular  or  rosette  ornament  is  shown  at 
Fig.  207  which  is  formed  of  a  circle  and  four 


Fig.  206. 

lotus  flowers.  This  may  be  drawn  free-hand  or 
by  the  aid  of  compasses.  A  conventional  form 
of  the  lotus,  in  a  more  finished  and  elaborate 

state,  is  shown  in 
¥\g.  208.  This  or- 
nament was  much 
in  use  with  the  an- 
cient Egyptians,  and 
was  considered  as 
being  a  sort  of  sa- 
cred emblem  with 
them.  Indeed,  the 
lotus  was  known  by 
Egyptians  as  "the 
sacred  flower." 
The  illustration  shown  at  Fig.  209  is  a  Roman 
border,  and  is  composed  of  curve  J  and  straight 


Fig.  207. 


■1,  '■■... f,  .W 


ARCHITECTURAL   DRAWING   SKLF  TAITGHT  187 

lines..    This  border  is  found  on  many  of  the  old 
Roman  buildings   now   extant   and   appears   to 


Fig.  108. 

have   oeen    a   favorite   ornament   with   the  old 
designers. 


Fig.  209. 


The  ornament  or  rosette  shown  in  Fig.  2cqK  is 
a  Roman  one  used  largely  during  the  period  of 


i 


188 


ATUIlITF.rTl'nAL   DUAWIXG    SELF  TAUGHT 


the  decay  of  art, 
about  the  second 
century  of  our  era. 
It  is  quite  elabo- 
rate, but  is  not  by 
any  means  effec- 
tive. The  orna- 
ment shown  in  Fi<^. 
2IO  is  also  Roman 
but  is  the  product 


I 


AIMIIITMTIUAI,    l)l{A\VI\(J    HKI.K    TAlOin 


180 


of  a   better   period    and    offers  som<;  advanced 
lines  for  the  student's  consideration. 


Fig.  211. 

The  scroll  border  shown  at   Fi^r.  211  is  of  the 
Byzantine    style  of    architecture,    and    is   quite 


effective  in  its  way  The  rosette  shown  in  Fig. 
212  is  also  of  that  style  and  offers  «rood  practice 
to  the  student. 

These  latter  e.xamples  are  taken  mostiv  from 


I 


190 


AUC'lllTEtTUHAl.    DUAWIXG   SELF  TAUGHT 


classic  executed  work,  and  while  they  only 
touch  the  fringe  of  classic  ornament,  they  will, 
to  some  extent,  give  to  the  student  an  idea  of 
the  ornaments  employed  in  the  historical  styles, 
and  thus  enable  him  to  design  his  work  on  these 
lines  with  intelligence. 

GOTHIC    ORNAMENT 

Gothic  style  is  so  much  different  to  the  styles 
that  preceded  it,  that  a  separate  chapter  may 
well  be  devoted  to  it  in  order  that  the  student 


Fig.  213. 

may  have  a  fair  opportunity  of  judging  for  him- 
self the  peculiarities  of  the  style. 

The  first  example  presented  is  a  Gothic 
border,  Fig.  213,  which,  it  will  be  seen,  has  a 
character  of  its  own,  that  is  far  apart  from  other 
ornamentation.  The  main  features  of  this  style 
lie  in  the  fact  that  its  members  all  have  a  vertical 


i         S 


AUCHlTKCTLU/iL.   UHAWIXti   SELF  TAL'GJIT 


101 


tendency  as  may  be  noticed  in  its  pointed 
arches,  its  sharp  spires,  its  pinnacles,  its  but- 
tresses, its  clustf-'r  cohimns,  and  its  wonderful 
traceried  windows  and  doors.  Its  chitjf  elements 
arc  window  tracery,  trefoils,  quatrefoils,  cinque- 
foils,  zij^za<rs,  garj^oyles,  fleur-de-lis  and  ball 
flowers.  These, 
along  with  many 
other  e  X  a  m  pies 
of  ornamentation, 
and  peculiar  lay- 
out of  plan  and 
elevation,  may  be 
said  to  constitute 
the    Gothic   style. 

The  illustration 
shown  at  Fig.  214 
represents  the  tre- 
foil ornament,  a;  used  in  windows  and  other 
decoration,  and  is  formed  as  follows:  Draw 
the  equilateral  triangle  as  shown  by  the 
dotted  lines  a  b  c,  then  bisect  it  as  at  c  f  and  a 
e,  cutting  the  line  c  f,  which  gives  the  center  for 
the  surrounding  circles;  a  b  and  c  are  the 
centers  of  the  trefoil  curves. 

The  next  illustration.  Fig.  215,  is  the  quatrefoil 
and  is  described  from  the  corners,  h  m,  f  g,  of  a 


Fig.  214. 


'3, 


iDi 


A«ti::Tl.CTL'»'\L   IJUAWIXG   SELF  TAUUIIT 


i 

! 

I 

I 


PLATE  12. 

This  plate  shows  a  portion  of  the  stairs,  com- 
plete and  under  construction.  The  newel  ^  ost 
and  balusters  are  plain  and  chamfered.  The 
bottom  step  is  rounded  off  at  t'^ ;   newel. 


it  r 


n .. 


(l^^(^^  ^%^(§)'^(^^^ 


Wif^ 


'i  r  J 


PlRTE.12. 


'T 


L. 


M. 


r- 


r 


A 

y 


/ 


—j_ 


'   i 


i 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


193 


Ji 


square;  a  is  the  center  of  the  surrounding  circles, 
found  by  the  intersection  of  the  diajjonals,  a  b, 

c  d,  of  the  square; 
the  curves,  s  s  s  s, 
are  drawn  from 
the  center  a;  while 
those  meeting  in 
[i^  1 1 1 1  are  described 
from  the  centers, 
h  m,  f  and  g. 

The  cinquefoil. 
Fig.  216,  is  de- 
scribed from  the 
corners  of  the  pen- 
tagon, a  b,  d  e  f ;  by  dividing  e  d  equally  on  the 
point  g,  and  draw- 
ing a  line  from 
a  to  it,  cutting  the 
perpendicular  e  c 
in  h,  the  center n 
is  the  point  from 
which  the  sur- 
rounding circles 
are  drawn.  The 
other  parts  of  this 
ornament  are 
easily  drawn.  Fig.  hg. 


M 
III' 


Hi 


194 


ARCHITKCTUUAL    DHAAVIN'G    SKLF   TAUGHT 


Two  more  examples,  and  then  I  have  finished 
in  this  style,  but  these  are  elaborate  and  will, 
doubtless,  try  the  skill  and  patience  of  the  stu- 
dent, but  the  results  will  well  repay  for  the  labor, 


Fig.  21-. 

and  will  open  up  new  and  unexplored  fields  for 
practice,  for  hundreds  of  desijrns  maybe  formed 
by  aid  of  the  knowledge  gained  in  understanding 
the  examples  herewith  presented. 


-w^w 


ARCHITECTURAL    DRAWING    SKLF   TALGHT 


195 


The  diagram  shown  at  Fig.  217  exhibits  the 
skeleton  work  for  the  finished  tracory  shown  at 
iMg.  318.  The  centers  for  all  the  curves  of  one 
third  of  the  work  are  all  shown  hy  the  heavy 
black  dots.     By  a  little  study  and  patience  the 


Fig.  iiS. 

Student  will  soon  be  able  to  draw  the  completed 
work,  Fig.  21 8. 

In    I-"ig.   219  we  have  another  skeleton  for  a 
still  more  elaborate  piece  of  work.     The  centers 


K: 


106 


aiuiiitp:('Tuual  duawing  self  taught 


:     I 


are  all  shown  by  black  dots,  and  portions  of  the 
curves  are  also  jj^iven.  The  completed  work 
shown  at  V'l^.  220  jias  a  very  rich  and  ornate 
appearance.      These   two    examples    are    quite 


Fig.  219. 


sufficient  to  give  the  student  a  good  insight  into 
(iothic  tracery  work,  but  it  must  be  remembered 
that  in  (lOthic  work  the  designs  of  this  character 
are  inniunerabk-.     Portions  of  these  designs  are 


ARCHITECTUHAL    I)HA\V1N(J   Si:i.r   TAiroilT 


U)7 


used    in    window    and    door    heads,   and    in    a 
bcindred  other  places,  always  with  effect. 

It  will  be  noticed  that  in  these  two  designs 
given,  that  the  trefoil,  or  three  circles,  forms  the 


Fig.  220. 

foundation  of  the  whole  of  the  work.  All  the 
other  ornamentation  seems  to  cluster  around 
the  three  larger  circles;  this  is  the  peculiarity 
of  these  two  examples,  but  it  must  be  borne  in 


I 


i:- 


\m 


AHCHITKCl't^RAl-   DRAWINT.   SKLF  TAUGHT 


U 


mind  that  the  trefoil  is  not  the  only  basis  around 
which  the  old  Gothic  designers  built  their 
tracery;  but  these  are  sufficient  for  our  purposes. 


SOME    rkACTICAL    KXAMI'LES    OF    ORNAMENTATION 

The    studious    draftsman   will   soon   discover 
■Jiany  new  worlds   to  conquer  if   he  pays  much 

— attention   to  his 

'  work,  and  he  will 

'  '        —     find  that,  for  or- 

namental   work, 

the  power  of  his 

'I         j\l/'  .      , 

T--  compasses  is  ai- 

''^"  ^*'"  most      without 

limit.     I  offer  a  few  simple  examples  herewith, 


f 

::&;'■' 

1 

7-  ~r 

Fig.    221. 

and  will  follow  them  up  with  others  of  a  more 
complicated  nature. 

The  illustrations  shown  at  Figs.  221   and  222 


ARCIIITECTUHAL   UHAWlNO   SELF  TAUGHT 


lOD 


show  the  finished  work,  and  working  diagrams. 
The  method  of  drawing  these  curves  and  orna- 
ments is  quite  apparent,  the  centers  are  all 
given,  and  the  dotted  lines  show  the  direction 
of  the  curves.     A  very  little  practice  on  these 


examples  will  enable  the  draftsman  to  describe 
them  in  quick  time,  and  will  give  him  an  insight 
into  the  methods  employed  in  designing  orna- 
ments of  this  kind. 

Another    very   simple   design,   and   one   that 
requires  but    little   description  on  the   manner 


hi 
1  'I 


i  n 


it 


i 


200 


AmillTKCTURAL   DnAWIXG   SKT.F  TAVGIIT 


of  making  it,  is  self-evident,  antl  is  shown  at  Fig. 
223.  This  is  a  very  effective  ornament,  and  at 
one  time  was  much  in  vogue. 

The  ornament  shown  at  Fig.  224  is  drawn 
right  and  left,  one-half  being  complete,  and  the 
other  half  exhibiting  the  various  centers  from 

rv\4 


Fig.  224. 


which  the  curves  of  the  pattern  are  drawn.  The 
method  of  forming  scrolls  has  bee.  described  in 
;■  previous  chapter,  so  that  it  is  unnecessary  to 
repeat  at  this  stage.  The  design  is  simple,  the 
centers  being  all  given  and  the  dotted  lines 
show  the  radii  of  the  curves. 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


^01 


The  design  shown  at  Fig.  225  is  taken  from 
an  old  example  of  panel  work  and  has  rather  a 
quaint  look.  The  draftsman  will  have  no  great 
difficulty  in  lining  out  this  design. 

The  ornament  shown  at   Fig.  226  is  intended    ^ 
for  a  double  barge-board,  having  a  belt  runnin?*^ 

along  the  center,  di- 
vidingtheupperfrom 
the     lower     portion. 
This  design  is  some- 
what    complicated, 
and   I  therefore  give 
herewith   a   full    de- 
scription of  the  meth- 
od  of  describing   it. 
To    properly   divide 
the  diameter  a,  b,  of 
the  circle   a   b,  c,  d, 
into  six  equal  parts,  through  the  third  of  these, 
•drawing    the     line    c,    d,     e,    f,    g,    at     right 
angles  to  a,  b.     From  3,  with  distance  equal  to 
one  of  the  parts  on  a,  b,  set  off  the  line  a,  c,  to 
the  points  6  and  7,  and  through  the  points,  2,  4, 
6,  and  7,  draw  lines,  forming  a  square.     Then 
from  the  point  3  as  a  center,  with  35  or  31  as 
radius,  describe  the  circle  hi.  isd.     Then  with 
half  the  distance  5b,  nia,  and  upon  the  lines  6 


Fig.  225. 


.  5|- 


209 


ARCHlTECTUnAL   DUAWIXO   SELF  TAUGHT 


i 


Fig.  zi6. 


ARCIIITE(TrRAL   DnvWlNO   SFl.F  T\!'OlfT 


20.1 


am]  7,  producetl  to  right  and  left,  describe  from 
the  centers  j,  k,  8q,  the  arcs  of  circles  which  will 
join  the  parts  of  circle,  15,  hi,  as  5I.  Im,  hn,  50, 
with  the  sides  2  and  4  of  the  square.  The  small 
circles   as  j,   k,  89,  give  the  standard    for   the 


Fig.  127. 

various  centers  and  center  lines,  the  moulded 
part  d,  bein^  drawn  to  depth  as  shown.  Set  off 
from  the  d  the  distance  of  the  diameter  of  small 
circles  as  k,  from  the  point  d,  nine  and  a  half 
times  to  the  point  f,  which  terminates  the  design. 
The  line  p,  q  is  drawn  at  right  angles  to  g  f, 
through  the  first  part,  r,  s,  through  the  third  ai.  1 
the  line  t,  u,  through    a  point  midway  between 


■Jt-Vi      'Mil. 


'204 


AUnilTWTrHAL   im.vWlNO   Hi:i,K  TMdllT 


the  sixth  and  seventh  points.  All  the  circles 
and  arcs  of  circh's  are  eith'T  equal  >  parts  or 
multiples  of  the  standard  circle  as  k,  or  f,  any 
one  of  the  six  di\  isions  on  the  line  a.  b. 

The  design  shown  at  I'ij^.  J27  is  also  a  pattern 
for  a  verge  hoard,  and  is  a  very  good  example 
of  the  kind.  The  centers  for  the  circles  are  all 
shown  in  the  working  diagram,  the  cutting  lines 
all  being  represented  by  the;  dotted  lines.  I 
purposely  leave  this  without  a  further  descrif)- 
tion  so  that  the  draftsman  may  exercise  his  own 
skill  in  working  it  out,  not  a  very  difficult  matter 
when  tiie  reference  letters  are  given. 

The  drawing  shown  at  Fig.  228  is  a  design  for 
a  balcony  panel,  showing  frame  and  drop  mould- 
ings. Suppose  a,  b,  to  be  the  total  height;  then 
divide  it  intp  seven  equal  parts  and  through  the 
fourth  of  the  points  draw  a  line  c,  d  at  right 
angU's  to  a,  b.  Make  the  facia  at  top  equal  to 
the  distance  between  the  sixth  and  seventh 
points.  From  the  line  d,  set  off  to  e,  and  f,  and 
make  f,  g;  e,  h,  each  equal  to  two-thirds  of  one 
of  the  parts  on  a,  b,  as  7,  S.  Through  the  point 
2,  draw  a  line  parallel  to  c,  d,  through  e,  f;  g, 
h,  draw  lines  parallel  to  a,  b.  Make  b,  j,  equal 
to  e,  f.  and  through  j,  draw  a  line  parallel  to  c, 
d,  joining  f,  e.     Bisect  2,  j,  in  the  point  k,  and 


ARniITK(  FIBAL    1)H.V\VI\<;    t^kAA    TAUUIII 


20: 


Mi  1 1 


throuirh   k,  draw  m,  k,  I,  pardlel   to  c.  i\.     With 
one-fourth  of  the  distance  of  ^,  h.  or  c,  f.  ^ct  off 


Fig.  2i8 


from  the  points  j,  k,  o,  and  m,  on  each  siile  of 
the  center  lines,  as  to  o,  and  n,  from  2,  and  i. 


206 


AUCIIITECTURAL    DRAWING   SELF  TAUGHT 


From  these  points  as  centers,  as  o,  and  n,  with 
radii  equal  to  o,  i,  describe  arcs  cutting  as  at  p, 
and  from  p,  describe  an  arc  joining  o,  n.  Do  the 
same  at  all  the  other  points,  and  describe  the 
double  arcs.  Divide  one  of  the  parts  into  which 
a,  b,  is  divided,  as  the  lowest  part  b,  I,  into  four 
equal  parts,  as  in  the  points  of  r,  and  s.  With 
two  of  these  as  radius,  from  the  point  k,  in 
center  describe  the  circle  k,  t,  u,  and  put  in  the 
ornament  with  the  arcs  as  shown.  Through  the 
points  I,  s,  2,  and  q,  as  the  line  a,  b,  draw  lines 
with  distance  q  b  set  off  from  q  to  v,  and  from 
V  draw  a  line  parallel  to  a  b,  parallel  to  m,  k,  1. 
With  r,  s,  as  radius,  from  v,  as  center  describe 
the  arc  v,  x.  With  half  the  distance  q,  v,  set  off 
from  X,  to  >•,  and  through  y,  draw  a  line  parallel 
to  V,  w,  as  y,  z;  the  point  z,  is  the  center  of  the 
arc  y,  a.  The  arc  from  a,  is  described  with 
radius  x,  y,  and  through  the  center  a  line  to  b.  is 
drawn  parallel  to  w,  v.  The  arc  c,  is  described 
from  the  point  d.  The  dotted  lines  and  radii 
show  how  the  other  parts  are  put  in.  The 
ornaments  at  f,  are  put  in  the  lines  drawn  from 
the  center  k,  to  the  corner  points,  as  at  e. 

These  examples  make  splendid  practice  for 
the  young  student,  and  if  repeated  two  or  three 
times,   they  will   become  so  impressed  on   the 


mm- 


-  't8ami^ia^bi^iV4sr:fstJ^ovvsr'xit:mig»'w 


,'«?ii*L'^-.fV''f  : 


x|%-»_^.».«u},-._*rjto/ 


ARCHITECTURAL    DRAWING   SKLl'   TAUGHT 


^01 


mind  that  they  may  be  produced  at  will  without 
copy,  and  enable  one  to  form  designs,  with  the 
aid  of  rule  and  compass,  to  suit  almost  any 
situation.  All  these  examples  are  formed  in 
exact  architectural  proportions,  a  matter  that  is 
often  lost  sight  of  by  the  draftsman,  who  is 
sometimes  astonished  at  his  own  uncouth 
creations,  which  become  as  offensive  to  the 
trained  eye  as  vulgar  language  does  to  the 
cultivated  ear.  In  the  formation  of  ornaments, 
like  everything  else  in  this  world,  there  is  an 
"eternal  fitness,"  a  fact  which  should  never  be 
lost  sight  of. 

The  design  show.,  at  Fig.  229  is  a  very  useful 
one  and  will  answer  very  nicely  for  a  drop  or  an 
eaves  board.  Suppose  a,  b,  to  be  the  height  of 
the  lower  part  of  the  design  which  is  divided 
into  thirteen  equal  parts.  Then,  through  the 
second,  sixth,  seventh,  and  eleventh  of  these, 
draw  lines  at  right  angles  to  a  b.  b>om  point  I, 
with  half  the  distance  of  the  space  between 
points  I  and  2,  as  radius,  describe  the  circle  d. 
From  the  point  2,  draw  lines  at  an  angle  of  45" 
to  the  line  c  f,  cutting  the  semicircle;  these 
points,  as  g  and  h,  give  the  centers  of  the  semi- 
circles, l*roni  one  center  of  the  circle  described 
between  the  points  3  and  4  draw  lines  at  right 


£08 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE  13. 

Plate  13  shows  a  mantel  in  elevation  and 
section,  also  a  plan  of  the  shelf,  with  construc- 
tion lines.  This  is  drawn  to  a  scale  of  ^  of  an 
inch  to  the  foot. 


' 


.(\>. 


'j^>..:  mif>Bmi')Js*iiJBKm-y7^ivifrfi^imK9i,s^K'ww:gf'ik^B<ik 


•:-','.\  '"'-~4(..-j  ■;■  u:*-\». ij i 'Xt, /  „y:- 


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if   • 


PLRTEia 


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'f 


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'!^^ 


M^ 


9  ^^ 


r 


ill 


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Si 


H 

i  'i 


AIIC'IITIX'TIKAL   DRAWING   SELF  TAUGHT 


200 


Fig.  219. 


V   i 


11 


i    -i 


'i  1 


210 


AR(  IIITKCTURAL    DRAWING   SELF  TAUGHT 


angles  to  tlu;  lino  e,  f.  to  i  and  j.  These  are  the 
centers  of  the  parts  of  circles  thus  shown, 
r'inishinir  the  circle  at  the  point  k  draw  the  line 
k.  1,  parallel  to  a  h;  on  this  line  the  center  m,  of 
the  arcs  n  and  o,  is  found.  6  and  p  are  the 
centers  of  the  arcs  q  and  r.  The  remaining 
portions  of  the  design  may  readily  he  put  in 
from  the  lines,  curves  and  centers  given. 

The  example  shown  at  Fig.  230  illustrates  an 
elaborate  design  suited  for  a  balustrade  and 
many  other  purposes.  Let  a  b  be  the  height; 
divide  this  into  two  equal  parts  in  the  point  c, 
through  c,  draw  a  line  at  right  angles  to  a  b,  as 
d  c  d.  Draw  the  distance  a  b,  into  eighteen,  or 
a  c,  into  nine  equal  parts.  With  one  of  these, 
from  the  center  c,  describe  the  circle  e,  f,  g, 
h,  and  from  the  point  where  this  cuts  the  line, 
a  b;  d,  d,  describe  circles,  the  radius  of  which 
is  onr-fourth  of  one  of  the  parts,  o.-  a.  •.  Then 
with  the  distance  as  h,  g,  from  these  fjoints  as 
centers,  describe  arcs  cutting  in  the  point  i 
from  i,  as  a  center  with  e,  the  same  ratlius  still 
kept  on  the  compasses,  describe  an  arc  j.  Do 
the  sam<>  frr)m  the  other  points,  as  g,  f;  f,  e;  e. 
li,  and  thus  lind  the  centers  from  wl-.ich  the  arcs 
corresponding  to  j.  are  described.  Irom  the 
points  k,  1,  where  the  outside  of  t'lc  Siuail  circles 


Ki -.rf- 


ARCIIITECTUIIAL   DUAWIXO   SKLF  TALGIIT  211 


m 


Fig.  230. 


! 


SIS 


ARCHITEtTfH.VL    Dli  WVINU   SELF  TAUGHT 


!'!■ 


e  and  g,  cut  the  line  d,  d,  as  center-  with  i,  j,  or 
c,  g,  as  radius,  describe  arcs  as  t,  r,  s,  or  u.  q,  v, 
stopping  at  lines  n,  m;  o,  p,  drawn  through  the 
points  k,  and  1,  parallel  to  a,  h.  Next,  from  i, 
set  off  to  the  point  p,  and  do  the  same  at  the 
other  and  corresponding  points,  thus  finding  the 
four  centers  m,  n,  o,  and  p.  From  these,  with 
e,  c,  d,  or  i,  j,  as  radius,  describe  arcs  which  are 
joined  by  straight  lines  with  the  semicircles  w, 
and  X,.  I  the  upper  and  lower  ends  of  the  design. 
To  find  the  centers  of  these  semicirrles,  divide 
the  distance  between  the  points  I,  and  2,  on  the 
line  a  b,  into  four  equal  parts,  and  at  the  points 
draw  a  line  z,  z;  from  the  point  y  set  off  in  the 
line  z  z,  a  distance  equal  to  b  g,  to  the  points  a 
and  b.  From  these  points  a  and  b  with  a  radius 
equal  to  y,  I,  or  y,  2,  describe  semicircles,  as  w, 
c;  X,  c.  Join  the  points  w,  and  x,  by  straight 
lines  e,  e,  with  the  arcs  described  from  the  points 
p,  and  n.  From  a  point  in  the  center  between 
b,  and  c,  and  a,  and  c,  describe  a  small  arc,  and 
join  this  with  another  arc  with  the  points,  as  d, 
d;  the  center  of  the  arcs  being  at  c,  c.  The 
lower  arc,  d,  f,  is  des(  riljed  from  the  center  g, 
which  is  on  a  line  drawn  t'ltough  a  point  the 
third  in  the  distance  b,  I,  un  the  line  b  a.  To 
describe  the  part  marked  A,  cut  out  the  part  B, 


ARCIIITFXTUUAL    DIUWINd   SELF  TAlOIIT 


B.  From  the  point  m,  o,  and  n,  and  p,  describe 
small  circles,  the  radius  beinj^  one-fourth  part 
of  one  of  the  parts  on  a  b.  With  a  radius  equal 
to  half  of  one  of  the  parts  as  I  2,  on  the  line  a  b, 
describe  circles  from  the  point  f,  f;  k,  k,  having  a 


1-       'I 


space  between  them  equal  to  the  space  at  c,  as 
1,  1,  antl  with  a  radius  ec}ual  to  the  diameter  of 
thci-e  circles,  describe  from  the  points  I,  1,  the 
arcs  111,  n;  m.  n.  I'' rem  n,  n,  which  are  equidistatu 
from  the  center  line,  a  space  equal  to  the  radius 
of  the  small  circles  n,  p;  describe  with  radius  of 
these  small  circles  the  arcs  meeting  in  the  j)oint 


MICROCOPY    RESOLUTION    TBST  CHART 

(ANSI  and  ISO  TEST  CHART  No.  2) 


^    APPLIED  IM/IGE 


'653    East    Main   Street 

Rochester.   Ne«  York        14609       USA 

(;i6)    482  -  0300  -  Ptione 

(716)    288-  5989  -  Fa» 


i  ; 


214 


AurniTKCTrRAL  nnvwiNG  sp-lf  taught 


o.  With  \v,  V,  or  s,  t,  as  radius,  set  off  on  the  Hne 
h,  h;  from  the  points  1,  1,  to  h,  h,  and  from  h,  h, 
describe  the  arcs  1,  p,  1,  p,  the  centers  of  the 
arcs  p,  p,  are  q.  q. 

These  examples  are  quite  sufficient  for  our 
purpose  so  far  as  woodwork  and  decoration  are 
concerned,  but  it  may  not  be  amiss  to  supple- 
ment them  with  a  few  on  the  same  line,  that  will 
answer  for  iron,  for  wood,  or  for  designs  in 
stencilling  or  other  decorative  work.  To  this 
end,  I  present  an  ornament  in  Fig.  231,  that  is 
suitable  for  a  central  ornament,  and  one  that 
may  be  employed  for  many  purposes.  Carvers 
frequently  make  use  pf  this  as  a  skeleton  figure 
for  carved  panel  work  as  it  may  be  elaborated 
to  almost  any  extent.  The  manner  of  drawing 
it  is  as  follows:  Let,  a  a,  be  the  center  line,  and 
a,  b,  the  distance  from  upper  rail  to  center  of 
lower  part  of  design;  through  b,  draw  the  line  c, 
d,  at  right  angles  to  a,  b;  c,  d,  in  the  length  of  the 
lower  part  of  the  design.  Divide  c,  b,  b,  d,  into 
two  equal  parts  in  the  points  e,  and  f,  with 
radius  e,  c,  describe  an  arc  cutting  in  the  point  i; 
from  i,  with  i,  a,  describe  the  arc  b,  a,  h.  P'rom 
the  point  b,  set  off  the  distance  e,  f,  to  the  point 
j;  and  through  j,  draw  a  line  k,  k,  parallel  to  c, 
d.     From  j,  with  the  distance  b,  f,  set  off  to  the 


ARCIIITECTURAI.   DRAWING   SELF  TAUGHT  215 

points  1,  and  m,  and  these  will  be  the  centers  of 
arcs  forming  the  upper  part  of  the  design.  The 
lines  and  centers  for  the  spiral  terminations  of 


'Ig.    2^1 


the  leading  curves  thus  described  as  shown  in 
the  drawing. 

The  skeleton  shown  in  the  illustration,  Fig. 
232,  exhibits  an  ornament  drawn  altogether  with 
the  compass.  The  centers  are  all  shown  and 
lettered    for    reference;    r    being    the    general 


210 


AUCIllTECTUnAL   DRAWING   SELF  TAroiIT 


center,  while  a, 
j,  d,  i,  m  and  c 
show  the   (livis- 

• 

ions  and  radia- 
tinj^  lines  of  one- 
half  of  the  fi<^- 
iire.  As  the  cen- 
ters may  all  be 
framed  at  the 
intersections  of 
the  dotted  lines, 
further  explan- 
ations are  un- 
necessary'. 

I  close  this 
department  by 
illustrating  a  n 
ornament  in 
which  the  ellipse 
predominates, 
Fig.  233,  which 
exhibits  a  run- 
ning scroll  suit- 
ed to  11  any  pur- 
poses. On  the 
continent  of  Eu- 
rope   scrolls    of 


W  *^'  ? ' 


ARCniTKCTURAL   DRAWING   SKLF   TAUGHT 


217 


this   kind  are   often    used    as    window  screens, 
beiftT    attached    to    the    frame     and    covered 
wit!     gauze,  or  woven  wire,  to    pnvent  insects 
getting  in  the  house  when  the  window  is  open. 
This  shows  only  half  the  design.     The  height 
of    this     section,    a,   b,    is     divided    into    nine 
equal    parts,  the    width    of   the    framework    is 
equal  to  one  of  these  parts.     From  c,  at  right 
angles  to  c,  d,  draw  the  line  c,  f,  and  with  the 
distance  a,  b,  from  the  point  c,  set  off  to  the 
points  e  and  f,  and  through  these  points  draw 
lines  at  right  angles  to  c,  f;  f,  g,  is  the  center 
line  of  the  design.     From  the  point  f,  with  four 
of  the  parts  on  the  line  a,  b,  set  off  to  the  point 
h,  and  through  h,  draw  at  right  angles  to  f,  g, 
the  line  i,  i.     From  the  point  h,  set  off  to  i,  i,  five 
.of  the  parts  in  a,  b,  making  i,  i,  equal  to  ten  of 
these  parts;  divide  i,  i,  into  five  equal  parts;  the 
f^rst  j,  and  fourth  k,  are  the  foci  of  the  elliptical 
ornament,  which  draw  as  shown.     Through  the 
point  4  on  a,  b,  draw  a  line  41,  and   make  the 
distance  m,  1,  equal  to  h,  i;  put  in  the  elliptical 
part  as  shown,  and  finish  as   in  the  diagram,  in 
which  all  the  centers  and  center  lines  are  given. 
Rules  for  describing  the  ellipse  were  given   in 
previous     pages,     that      should      the     student 
experience    any    difficulty    in    describing     the 


^218 


AUCIUTKCTI'UAK    DH.WVINO    SELK  TAUailT 


elliptical  curves,  he  may  refer  to  those  pages  for 

assistance. 

SOMKrillNC.    ON  ORDKKS    OK    ARCHITKCTURE 

It  is  1  Jt  my  intention  to  enter  deeply  into  a 
description  of  the  onlers  of  Architecture  or  to 
give  the  student  a  history  of  their  rise  and 
growth,   or    analy/o    their    peculiarities;    it     is 


enough  for  our  purpose,  to  be  able  to  draw 
them,  and  to  give  to  each  order  its  own  pro- 
portion and  arrangement.  Before  we  can  do 
this,  however,  it  will  be  necessary  for  us  to  be 
able  to  lay  off  a  section  of  a  colurin,  showing 


Am  mitmhuai,  dhauino  hki.k  lAircHT 


219 


the  position  of  /lutes  and  fillets  in  plan  and 
elevation.  This  is  hrou^.h'.  (,ut  nicely  in  Fig. 
2.14.  when:  the  d(,tted  linens  show  the  width  of 
Hutes  and  fillets  as  tl^<,  will  appear  on  the 
elevation.  Suppose  a  b  V]^.  234  to  be  the 
diameter  of  the  column,  then  bisect  it  in  c;  and 

! 


draw  c  d.  Make  lines  corresponding  to  these, 
and  from  the  point  c,  with  c  b,  describe  the 
semicircle  a  d  b,  representing  half  the  column. 
Bisect  the  quadrant  a  d.  in  the  point  e.  and 
divide  the  arcs  a  e,  e  d.  by  points  g,  f,  h.  m. 
Mark  the  position  of  these  by  radial  lines  from 
c.  as  in  the  example.  Divide  the  part  a  g  into 
eight  equal  parts;  and  with  three  of  these  as 
radius,  froi-  the  points  m  the  quadrant,  as  g.  f, 


««0 


VHCIUTM'IIHAI,    1)HA\V1N(}    SKl.F    lAl  (JUT 


etc.,  (Icscribo  semicircles.  Six  parts  will  thus  be 
given  to  each  llute,  and  two  to  each  fillet;  and 
the  column  will  havi;  twenty-four  llutes. 

To  ilcscribe  the  Hutes  in  a  Doric  column  with- 
out the  tillets,  proceed  as  follows:  Lay  out  the 
portion  of  cohmin  as  in  the  previous  example, 
by  dividing  the  quailrant  bee.  Fig.  235,  into  six 


Fig.  136. 

equal  parts,  as  e,  m,  n,  etc.,  giving  to  the  entire 
column  twenty-four  flutes  as  before.  Draw 
radial  lines  from  b.  Divide  a  f  into  four  equal 
parts,  and  lay  one  of  these  on  a  b  produced  to  c; 
from  b,  with  b  e,  describe  a  semicircle  as  e  m  n, 
cutting  the  radial  lines.  Bisect  a  f  in  o,  and 
with  f  o  as  radius,  from  the  points— where  the 
dotted  semicircle  intersects  the  radial  lines— as 


AH('mTK<"n;n\N  duawim;  skkk  tvught 


m 


P 


centers,  dcscrih*;  the  arcs  as  in  the  example. 
Another  method  is  shown  in  Fij^.  236.  which  is 
formed  as  follows:  Make  the  semicircle  a  d  e 
and  divide  the  (|uadrant  bad  into  five  equal 
parts,  so  as  to  ^ive  twenty  flutes  to  the  column. 
Produce  a  b  to  f;  bisect  a  e  in  h,  and  from  e  lay 
off  e  h  to  m;  join  h  m.  and  with  distance  h  e  lay 


LC 


off  on  the  radial  line  b  e  to  n.  From  b,  with  b 
n,  describe  the  dotted  semicircle,  f  n  o.  The 
centers  f  the  flutes  are  placed  where  the  radial 
lines  intersect  this  semicircle.  From  n,  with  n 
m,  describe  the  lines  as  shown,  ^nd  finish  the 
section. 

A  section  of  a  column  having  flat  flutes  and 
fillet  is  shown  at  237.  To  describe  this  draw  the 
semicircle  a  d  c,  and  divide  the  quadrant  bad 
into  si.x  equal   parts,  divide  a  e  into  five  equal 


11 


m 


222 


AIK  lllTKCTfHAl,    DHAWiNCJ    HVA.V  TAirdin 


parts.  With  two  of  these  from  th<!  radial  line 
lay  off  on  each  side,  as  f  h.  With  on-.;  part  lay 
off  from  c  to  m,  and  from  m,  with  h  m.  d<scrihe 
a  semicircle  c  d  a;  complete  the  dia^nam  as 
shown.     This  will  give  the  depth  of  the  (lutes, 

\ 


one;  the  width  four,  and  the  width  of  the  rilijt>. 
one. 

In  Fig.  2^8  we  give  a  method  of  describin<r 
the  cabled  moulding  with  fillets  between.  Divichr 
the  semicircle  a  c  d  in  the  same  proportion  as  in 
Fig-  -34.  giving  an  equal  number  as  in  that 
example.  From  b,  with  b  e  on  the  compass, 
describe  the  semicircle  c  f  f.  From  the  points 
where  the  radial  lines  intersect  this,  as  centers, 
with  a  e.  describe  the  curves  as  in  the  example. 

I  will  now  endeavor  to  explain  what  are  known 
as  "The  orders  of  Architecture,"  showint^  their 


AlU  IIITWTrKAr,    DliAWINrj    SKI.K   TAr<.lir 


^43 


various    mcMnlx-rs,    their    f)ro|)ortion,    and    the 
manner  )f  .irran^crnc  nt. 

"Order,  in  an:liit(;(:tiire,"  says  an  authority, 
"is  a  systi'm  or  asscinhl.ij^re  of  parts  subject  to 
certain  uniforni  rstahlish<<l  fjrofjortions,  regu- 
lated l)y  the  offici;  (;ach  part  has  to  perform. 
An  order  may  be  said  to  Im!  the  ^r(;nus,  whereof 
the  species  are  Tuscan,  Doric,  Ionic.  Corinthian 
and  Composite;;  and  consists  of  two  (;ssential 
parts;  a  column  and  an  entablature.' 

These  again  arc  subdivided,  the  first  into 
three  parts.  nam<.-l>  :  th(;  base,  the  shaft  and  the 
capital:  the  second  also  into  three  [>arts,  namely: 
the  architrave;  or  chi(;f  beam,  C  I'i^r.  239,  which 
stands  immediately  on  the  column:  the  frieze  B, 
which  lies  on  the  architrave,  and  the  cornic-.  A. 
which  is  the  crowning  or  uppermost  member  of 
the  order.  In  the  subdi\i-ions  certain  horizontal 
members  are  used,  which  from  the  curved  form 
of  their  edges  ar(>  called  mouldings,  the  con- 
struction of  which  depends  on  a  certain  knowl- 
edge of  geometry.  This  ai)plication  may  be 
seen  in  the  illustration;  thus  a  is  the  ogee,  b,  the 
cornice,  c  Me  ovolo,  d  the  cavetto,  which  with 
fillets  compose  the  cornice  f  f  the  facia. 

The  capital  of  tlie  c*  lumn  consists  of  the 
upper  members  or  abacn-,  g,  the  ovolo  moulding- 


iu 


AUClllTKCTUUAL    .  UAWlNo   SELF  TAUOilT 


PLATE  14. 

This  plate  shows  an  elevation  for  a  cheap  book- 
case suited  for  the  cottage  under  consideration. 
The  end  elevation  is  also  shown  with  ;  \ce  of 
drawers  laid  off.  The  scheme  for  a  box  stall 
shown  in  the  drawing  is  somewhat  out  of  the 
usual  course,  but  maybe  found  very  convenient 
in  stable  construction. 


(J 


n 


; 


D 


LfM 


a,  :\t 


IWilH 


D 


•   LAT^i 


J 


% 


BQX 


>l 


.5  I 


m 


■'     i 


ill  I 
J- 

11'. 


ARCHITECTURAL    DRAWING   SKLF  TAUGHT 


225 


c,  the  astragal  i  i,  and  the  neck  h.  The  base 
consists  of  the  torus  k,  and  the  plinth  1.  The 
character  of  an  order  is  displayed,  not  only  in  its 
columns  but  in  its  general  forms  and  details, 
whereof  the  column  is,  as  it  were,  the  regulator; 
the  expression  being  of  strength,  grace,  elegance, 
lightness,  or  richness.  Though  a  building  be 
without  columns  it  is  nevertheless  said  to  be  of 
an  order,  if  its  details  be  regulated  according  to 
the  method  prescribed  for  such  order. 

In  all  the  orders  a  similar  unit  of  reference  is 
adopted  for  the  construction  of  their  various 
parts.  Thus,  the  lower  diameter  of  the  column 
is  taken  as  the  proportional  measure  of  all  the 
other  parts  and  members,  for  which  it  is  subdi- 
vided into  sixty  parts,  called  minuter,,  or  into 
two  modules  of  thirty  minutes  each.  Being  pro- 
portional measures,  modules  and  minutes  are 
not  fixed  ones  like  feet  and  inches,  but  are  vari- 
able as  to  the  actual  dimensions  which  they 
express  — larger  or  smaller  according  to  the 
actual  size  of  the  d:ameter  of  the  column.  l'"or 
instance,  if  the  diameter  be  just  five  feet,  a 
minute  being  one-sixtieth,  will  be  exactly  one 
inch.  Therefore,  before  commencing  to  draw 
an  elevation  of  any  one  of  the  orders,  the 
diameter  of  the  column  must  be  determined,  and 


'i 


■  't 


''ms^'-::^> 


226  AUCniTECTUUAL    1)1{.\WIN(;    SKLF   TAUGHT 


Fill.  -39- 


ut i 


et- 

"X 

— 

<>i 

j 

»A 

i  ^ 

rig-i. 


»*- 
I 

i 


!    ^ 


'^ 


!  ! 


»    . 


ARCIIITM'TIIRAL    DKAWING    SELF  TAUGHT 


227 


from  that  form  a  scale  of  equal  parts,  by  sixty 
divisions,  then  lay  off  the  witlths  and  heights  of 
the  different  members  according  to  the  propor- 
tions of  the  required  order  as  marked  on  the 
body  or  on  the  sides  of  the  illustrations. 

^'ig-  239  presents  an  illustration  of  the  Tuscan 
order,  considered  by  ai  Nitects  as  a  spurious  or 
plain  sort  of  Doric,  and  hardly  entitled  to  ren.ark 
as  a  distinct  order.  E  in  the  frieze  correspond- 
ing to  the  triglyph,  illustrates  still  further  the 
connection  of  the  two  orders;  but  by  many 
architects  this  member  is  not  introduced.  No.  i 
is  an  elevation  of  capital  and  entablature,  \o.  2 
of  the  base,  and  Xo.  3  of  a  detached  capital. 
Oiu  example  is  constructed  according  to  the 
rules  given  by  \'incent  Scamozzi. 

Examples  of  two  capitals  are  given,  differing 
merely  in  the  number  of  mouldings  in  the  abacus. 

In  fact,  this  introduction  of  simple  mouldings 
is  about  the  01  ly  variety  allowable  in  the  ord 
Ornament    is   not  admitted,  nor  are  the  pillars 
ever  lluted. 

A  slightly  convex  curvature,  or  entasis,  is 
given  in  execution  to  the  outline  of  the  shaft  of 
a  column,  b\'  classic  architects,  just  sufficient  to 
counteract  and  correct  its  appearance,  or  fancied 
appeal ance,  of  curvature  in  a     mtrary  oirection 


m 


€28  ARCIMTKCTURAL   DRAWING   SELF  TAUGHT 


\ 


1 


Fig.  240. 


ARCHITECTURAL    DRAWING    SELF   TAl  OUT 


229 


(i.e.,  cc.icavely),  which  might  else  take  place, 
and  cause  the  middle  of  ihe  shaft  to  appear 
thinner  than  it  really  is. 

No.  4  represents  the  form  of  a  half  column 
from  the  Pantheon  at  Rome.  In  No.  5  another 
example  of  entasis,  the  lower  third  of  the  shaft 
is  uniformly  cylindrical;  the  two  upper  thirds 
are  divided  into  seven  equal  parts.  On  ihe 
semicircle  shown  in  the  fij^ure,  is  a  chord  cut  off 
parallel  to  the  diameter,  the  length  of  which  is 
fifty-two  parts  only  one-half  being  shown. 
Divide  the  part  a  b  of  Oie  circumference 
between  the  diameter  and  chord  into  seven 
equal  parts,  and  draw  parallel  lines  from  each 
division  to  those  of  the  upper  part  of  the 
column,  which  will  give  the  diameter  of  the 
shaft  at  each  division;  by  increasing  the  number 
of  the  divisions,  more  diameters  for  different 
parts  of  thp  shaft  may  be  found. 

Fig.  240  exhibits  an  example  of  the  Doric- 
order,  from  the  temple  of  Minerva  in  the  island 
of  Egina.  The  dimensions  are  given  in  parts  of 
the  diameter,  as  in  the  preceding  example,  and 
iC  same  capital  letters  denote  corresponding 
part.s.  No.  i  is  an  elevation  of  the  capital  and 
the  entablature.  No.  2  of  the  base,  and  a  part 
of  the  Podium.     No.  3  shows  the  forms  of  the 


mr. 


\M.,i^.        '.^iUtLU.-i. 


li 


«30 


ARtlllTKrrUHAL    URAWINO   SELF   TALOUT 


flutes  at  the  top  of  the  shaft,  and  Xo.  4  at  the 
base.  No.  5  the  outline  of  the  capital  on  an 
enlarged  scale. 

The  Doric  order  may  be  said  to  be  the 
original  of  the  Greek  orders,  of  which  there  are 
properly  but  three;  the  Doric,  Ionic,  and  Corin- 
thian, which  differ  in  the  proportion  of  their  parts 
and  in  some  of  their  ornaments  and  mouldings. 
Of  the  Doric,  the  mutules  a  a,  the  triglyphs  b  b, 
the  guttae  or  drops  d  d  of  the  entablature,  the 
echinus  f  and  the  annulets  g  g  of  the  capital, 
may  be  considered  characteristic.  With  regard 
to  the  arrangement  of  triglyphs,  one  is  placed 
over  every  column  and  one  or  more  inter- 
mediately over  every  inter-column — a  span 
between  two  columns — at  such  a  distance  froin 
each  other  that  the  metopes  c,  or  spaces  between 
the  triglyphs,  are  square. 

In  the  best  Greek  examples  of  the  Doric  order 
there  is  only  a  singh.'  triglyph  over  each  inter- 
column.  One  peculiarity  of  the  Grecian  Doric 
frieze  is,  that  the  end  triglyphs,  instead  of  being 
like  the  others  in  the  same  axis  or  central  line 
as  the  column  beneath,  are  placed  quite  up  to 
the  edge  or  cuter  angle  of  the  frieze.  Th. 
mutules  are  thin  plates  or  shallow  blocks 
attached    to    the    untier  side   of    soffit    of    the 


ARCHITKf  rtUAI.    DH.VWINO    MKI.K  TAICJIII 


<3l 


corona,  over  each  triglyph  and  each  motope, 
with  the  former  of  which  they  correspond  in 
breadth,  and  their  soffits,  or  under  surfaces,  are 
wrou^dit  into  three  rows  of  guttae  or  drops, 
conical  or  otherwise  shaped,  each  r  j\v  consisting 
of  six  guttae,  or  the  sam(;  number  as  thoss 
beneath  each  tri^rlyph.  Though  a  few  excep- 
tions to  the  contrary  exist,  the  shaft  of  the  Doric 
cohimn  was  generally  what  is  technically  called 
(luted.  The  number  of  cha  .„ls  or  flutes  is 
either  sixteen  or  twenty,  afterwards  increased  in 
the  other  circles  to  twenty-four,  for  they  are 
invariably  of  an  even  number,  capable  of  being 
divided  by  four,  so  that  there  shall  always  be  a 
center  flute  on  each  side  of  the  column. 

Fig.  241  presents  an  example  of  the  Ionic 
order,  taken  from  the  temple  of  Minerva  Xolias 
at  Athens.  Xo.  i  is  an  elevation  of  capital  and 
entablature,  Xo.  2  the  base,  Xo.  t,  is  a  half  of 
the  plan  of  the  column  at  the  base  and  the  top; 
Xo.  4  an  elevation  of  the  side  of  the  capital. 
In  the  proportions  of  its  shaft,  which  are  more 
slender,  and  the  addition  of  a  base,  it  differs 
from  the  Doric;  but  the  capital  is  the  indicial 
mark  of  the  order  by  which  it  is  immediately 
recognized.  It  is  far  more  complex  and  irregular 
than   the   other   orders  of  capitals;    instead  of 


..  R 


^^^^^T 


i3i 


AHCUn'ia.TUKAL    DRAWING   SELF  TAUGHT 


!^ 


PLATE  15. 

Plate  15  exhibits  an  odd  piece  of  furniture, 
termed  a  "kitchen  desk."  Twelve  students  can 
sit  around  this  desk  and  work  with  ease.  The 
elevations  show  the  manner  of  finish,  with 
drawers  on  top  of  case  under  the  desk  top,  and 
doors  below,  that  cover  shelves,  intended  for 
books  or  other  similar  materials. 


!»-!- 


W"mraiM4iPiL  I A  .  J.J.  < .  L 


P  LA  T  EJ5. 


tT\M  \  Desk, 


T'v 


^S55. 


•*«■ 


i 


A^-L 


^/r' 


5TUDE.f#5 


Bt"« 


1 


■  I 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


233 


showing  four  equal  sides,  it  exhibits  two  fronts, 
with  spirals  or  volutes  parallel  to  the  architrave 
and  narrowed,  baluster  sides  (No.  4),  as  they  are 
termed,  beneath  the  architrave. 

When  a  colonnade  was  continued  in  front  and 
along  the  flanks  of  the  building,  this  form   of 
capital  occasioned  an  offensive  irregularity;  for, 
while    all    the    other    columns    on    the    flanks 
showed    the   volutes,  the  end  one  showed   the 
baluster  side.      It   was  necessary  that  the  end 
column  should,  therefore,  have    two    adjoining 
volute  faces,  which  was  effected  by  placing  the 
volute  at  the  angle  diagonally,  so  as  to  attain 
their  two  voluted   surfaces  placed   immediately 
back  to  back.     This  same  diagonal  dispositi(m 
of  the  volutes  is  employed  for  all  capitals  alike, 
in  Roman  and  Italian  examples  of  this  order. 

The  capital  admits  of  great  diversity  of 
character  and  decoration— it  sometimes  is  with- 
out necking,  sometimes  with;  which  may  either 
be  plain  or  decorated,  to  suit  the  entire  design. 
The  capital  may  also  be  modified  in  its  pro- 
portions, first  as  regards  its  general  proportion 
to  the  column;  secondly,  as  regards  the  size  of 
the  volutes  compared  with  the  width  of  the  face. 
In  the  best  Greek  examples  the  volutes  are 
much  bolder  than  in  the   Roman.     The  spirals 


234  ARrillTKCTrHAL    DHAWINO    SKI.F   TAUGHT 


'in 


It     '|P 


i>  1 

I 


wMJmj^MjmjmMJmjm^^Mr'Siiii'M.  m 


21 


jipyr.-i,:^'!^ 


"•■   1 


WifiMMi^jMifii^fdkiMLn^iJM 


'^^&P 


F 


loNic  Order. 


i  I   'I   I   I  J 


Fig.  241 


M' 


ARCHITECTUUAL    UUAWIXO   SELF   TAUGHT  235 

also  of  the  volutes  may  be  either  single  or 
maniold,  and  th<;  eye  or  center  of  the  spiral 
may  be  made  iar-cr  or  smaller,  flat  or  convex, 
or  curved  as  a  rosette. 

Fig.  242  represents  an  example  of  the  Corin- 
thian order,  from  the  Arch  of  Hadrian,  at 
Athens.  This  order  is  distinguished  from  the 
Ionic,  more  by  its  deep  and  foliated  capital  than 
by  its  porportions-the  columns  of  both  have 
bases  diffcrin^r  but  little  from  each  other,  and 
their  shafts  are  fluted  in  the  same  manner.  ' 

Although  the  order  itself  is  the  most  delicate 
and  hghtest  of  the  three,  the  capital  is  the 
largest,  being  considerably  more  than  a  diameter 
m  heicrht,  varying  in  diffc-n  nt  examples  from 
one  to  one  and  a  half  diameter;  upon  the 
average  about  a  diameter  and  a  quarter. 

The  capital  has  two  rows  of  lea/es.  eight  in 
each  row.  so  disposed  that  of  the  taller  ones, 
composing  the  upper  row,  one  comes  in  the 
middle,  beneath  each  face  of  the  abacus,  and  the 
lower  leaves  alternate  with  the  upper  ones, 
coming  between  the  stems  of  the  latter;  so  that 
m  the  first  or  louer  tier  of  leaves  there  is  in  the 
middle  of  each  face  a  space  between  two  leaves 
occupie.l  by  tl),>  stem  of  the  central  face,  above 
them.     Over  these  two  rows  is  a  third  series  of 


jM. 


! 


23G  ARrillTECTUUAL    DRAWIN(i    HKLF  TAUGHT 


Fig.  242. 


i^ 


m^ 


AI{(  lUTl.cn  HAi,    UUAWINO   SELF  TAUGJ'T 


237 


eight  leaves,  turned  so  as  to  support  the  small 
volutes  which,  in  turn,  support  the  angles  of  the 
abacus.     Besides  these  outer  volutes,  which  are 
invariably  turned  diagonally,  as  in  the  four-faced 
ionic  capital,  there  are  two  smaller  ones,  termed 
caulicoli,   which    meet    each    other    beneath    a 
flower  on  the  face  of  the  abacus.     The  abacus 
Itself    is     not,    properly     speaking,    a     square, 
although  it  may  be  said  to  be  so  in  its  general 
form.     But  instead  of  being  straight,  the  sides 
of  the  abacus  are  concave  in  plan,  being  curved 
outwards  so  as  to  produce  a  sharp  point  at  each 
corner,  which  is  usually  cut  off. 

The  proper  Corinthian  base  differs  from  that 
of  the  usual  Ionic  or  Attic,  in  having  two  smaller 
scotiae,  separated    by  t\  j   astragals;    however, 
both  kinds  are  em   loyed  indiscriminately.     The 
shaft  is  fluted,  in         oral,  similarly  to  that  of  the 
Ionic    column,    bi      sometimes    the    flutes    are 
cabled,  as  it  is  called;  that  is,  the  channels  are 
hollowed  out  for  only  about  two-ihirds  of  the 
upper  part  of  the  shaft  and  the  remainder  cut 
so   that   each   channel    has    the   appearance  of 
being  partly  tilled  up  by  a  round  staff  or  a  piece 
of  rope,  hence  the  term  cahjincr. 

The  cornice  is  very  much  higher  than  in  the 
other  cJers,  which  makes  more  projection  also. 


t- 


"38 


AncniTKCTUHAL    IJKAWING    SP^LF  TAUGHT 


rrom  this  greatly  increased  'lepth  of  cornice, 
it  consists  of  a  great  number  of  mouldings 
beneath  the  corona,  for  that  and  the  cymatium 
over  it  invariably  retain  their  places  as  crowning 
members  of  the  whole  series  of  mouldings.  In 
the  illustration  square  blocks  or  dentels  are 
introduced,  but  often  to  the  dentels  is  added  a 
row  of  modillions  immediatel>'  beneath  and  sup- 
porting the  corona.  These  modillions  are 
ornamental  blocks,  curved  in  their  under  surface 
somewhat  after  the  manner  of  the  letter  S  laid 
on  its  edge,  and  between  them  and  the  dentels, 
also  below  the  latter,  are  other  mouldings, 
sometimes  cut,  at  others  left  plain.  Sometimes 
a  plain,  uncut  dentel  band  is  substituted  for 
dentels;  sometimes,  in  simpler  cornices,  that  is 
omitted  altogether  and  plainer  blocks  are 
employed  instead  of  modillions;  or  else  both 
dentels  and  modillions  are  omitted.  The  dentel 
is  not  peculiar  to  this  order,  but  is  considered  as 
more  properly  belonging  to  the  Ionic. 

The  composite  order  is  very  much  akin  to  the 
Corinthian,  and  is  sometimes  called  the  Roman 
Corinthian.  It  is  frequentl)-  formed  with  square 
plinths  or  pcdcsials  beneath  the  column.  The 
base  is  nearly  like  those  of  the  Doric  and  Ionic. 
The  shaft  is  channeled  with  twenty-four  flutings 


ARCHITKCTUHAI,    DRAWING   SELF  TAUGHT  ?.99 


separated  by    fillets. 
The  capital  consists  of 
two  rows   of   acanthus 
leaves,    eight    in   (;ach 
row;  the  upper  row  be- 
ing   placed    over     the 
meeting  points  of  those 
in  the  lower  row.    lour 
spiral    volutes    in  each 
face    spring  from    two 
bunches     of     acanthus 
leaves;  and  twoof  th(Mn 
are  so  connected  at  the 
corners    as  to  support 
the  abacus  of  the  cap- 
ital.    (See     F"ig.     243.) 
Each  face  of  the  aba- 
cus,   besides     being 
moulded   into  an  ovolo 
form,  is  a  slight  differ- 
ence between  the  Cor- 
inthian and  Composite. 
The  Corinthian   archi- 
trave   is    divided    into 


I'^'g--   14  V 


fv. 


three  facias,  the  Composite  into  two;  tlie  facias 
being  m  both  cases  separated  from  another  by 
small  enriched  mouldings. 


«40 


AlWIIlTKtTUKAL   DRAWING   SELF  TAUGHT 


If 


PLATE   i6. 

Plate  i6  shows  sections  and  plans  of  windows, 
for  wood  and  for  brick  buildings,  with  weights 
where  the  mullion  is  narrow  and  will  not  admit 
of  two  weights  passing  each  other.  One  section 
shows  the  manner  of  constructing  the  angle  of 
a  bay  window  where  boxes  and  weights  are 
required.  This  is  a  very  useful  plate  for  the 
young  draftsman. 


» 


' » 


I  f. 

it 


.^^viiT 


VN/,| 


HSiTuiiillYf 


PLATLik 


PLAN  OFWINDOWS   FOR  WOOD  BU  I  LDI  N 


OND  FOK    BF\ICf\ 


PLAN  ?FMULLI?NS 

f^^rH90?FH/^NGlN6  I 
MULLI9N 


•■V 

r  •! 


!ij 


r^ 


I* 


•f 

i. 


B 

^^^^^^^^1  \ 

lilt 

T^mBi 

^jj 

i      ■ 

1      ^fl? 

i 

.  Hi 

■Ti 

!   1 

4               MHI' 

!    : 

^m 

i    ' 

i    ' 

i    ' 

)  ^h| 

1     ■ 

;        ' 

;     ; 

HflBM^Ifi|' 

4 

!  I 

'    ■ 

; 

.  1 ..  ,i^ii  ^^9 

^     ■■ 

i| 

^n  1 

: 

Hi 

^H 1 

i 

!     ' 

I 

i'^^^^^^t^^^^^M 

[ 

*\7^U 

H^^ 

above  a,,.;;;: ;,  zi:::"''  '"T"'- 

v^umpos        has    mutulcs   on    the  ^nff,f 

-odillions.      U?,„.  4:      .      ■""""'■"'"•     ■■""'•" 

along  the  under  s  do  of  th'    '"'°     "'°''"'''"^- 
panel.  ^^  ™™"^' '» •'"  '^"riched 

cioL;;r':;;r; ';:: '°"°""'  '^'^  f"---.- 

HraftsL..;         hf  :  ;    ■™'^'  7'  -'V  be  a  fair 
edtr,.  „f  '•"■'•  "bta.ned  a  knowl- 

'  a.  :    Tar   fl^''"=""7  -'  ~„on 
after  and  paid  for  at  a  good  ;ate  ""^'" 


# 


^  ? 


1 


MLSCELLANEOU? 

abHefde^Hptntf-rrir^"^^^^ 
sometimes  -,   i.Vfi  .•  "'^   ^^   '^  '^ 

style    oT  lette      :  """'"'  '°  '''=^'*  °"  "^at 
g  fe«  examples,  .0  ti.at  tl,e  draftsman  ma. 


2ii 


ARCniTECTUHAL   DRAWING    SELF   TAUGHT 


have  something  lo  aid  him  in  deciding.  Orna- 
mental letters  had  better  be  avoided  until  such 
time  as  the  draftsman  feels  he  can  make  them 
with  ease  and  celerit>-,  and  plain  lettering  had 
best  be  the  rule;  however,  I  give  a  few  examples 

ABCDEFCHI  JKLMNO 
PQRSTUVWXYZ&c 

Fig.  244 

of  both  plain  and  ornamental,  so  that  the  student 
can  determine  for  himself  the  styles  of  letter  he 
will  employ. 

A  simple  block  letter  is  shown  in  Fig.  244, 
with  one  letter  G  enlarged  at  the  end.  These 
letters,  as  will  be  seen,  may  be  made  in  single 
or   double    line,    as    may    be    desired.      Figures 

123456    7     890 

appearing  in  the  heading.  Fig.  245,  should  be 
the  same  size  as  the  lett(;rs,  but  as  dimensions 
on  the  drawing  they  should  not  be  more  than  % 
in.  deep,  nor  less  than  i'^  in.  When  dimensions 
are  put  upon  a  drawing,  the  distance  to  which 
they  should  extend  should  be  carefully  shown 
by  dotted  lines,  with  arrow-heads  at  the  extremi- 


w::^mim^ 


ARCHITECTUHAl.    DHAWING    SKLF   TAUGHT  243 


tie"-    k-c-  i.i:i>:  the   fractions  level,  and  with  the 
sm  il   u-rii,,.s     vvo-thirds    the  size  of    the  large 
ont>.     The  feet  should  be  marked  by  a  single 
accent  thus  .  and  the  inches  by  a  double  accent 
thus  ",  with  a  full  stop  on  the  lint    between  the 
figure.      If  the   dimensions  consist  of    an   even 
number  of   feet,  then   inches    should    be   repre- 
sented by  o".     The  omission  has  led  to  serious 
mistakes  in  practical  work,  which  should  always 
be   guarded    against,  and,   notwithstanding  the 
examples    of    text-books    and    the    practice    of 
some    examiners,    this    is    an    important    point 
always  observed  b\  practical  draftsmen. 

After  inking  in  all  the  figures,  pencil  out  the 
heading    very    carefully,    makmg    the    letters   a 
little  thicker  than   those  used  in  Fig.  244;  G,  R, 
S    C,  and    M    will   be  found   the   most  difficult. 
The  distanct?  apart  of  the  letters  should  not  be 
quite   uniform,  but  should   Ik*  such  as  will  look 
uniform.     b\)r  example,  as   I   between  M  and  X 
would  require  more  than  the-  usual  space  to  look 
right;  on   the  oth(;r  hand,  a  T  between  L  and  J 
would   r<.-quire   to    slightly   overlap   to    give    the 
right  effect.     The  junction   points  A,  M,  X,  V, 
and  W  should  not  be  sharp  but  the  same  width 
as  the  thickness  of  th(;  strokes. 

Leave  K  in.  between  the  words  of  the  heading. 


If 


W^ 

i 

^M 

---3 

il 

11 

1 

1 

h 

IT 


u 


244 


AUCUITKCTUKAL    UUAWIXG   SELF  TAUGHT 


Pi 


It  is  then  much  easier  to  read  than  if  ci  amped 
closer  together  or  spaced  wider  apart. 
Remember  that  the  printing — being  thicker — 
will  take  longer  to  dr}-,  and  be  careful  not  to 
use  the  intlia  rubber  too  soon.  It  will  be 
observed  that  the  guide  lines  for  the  square  and 
center  lines  for  the  circle,  as  described  above, 
have  not  been  inked  in,  as  they  would  spoil  the 

ABCDEFGH IJ 
K  L  M  N  0  PQRST 
UVWXYZ 

Fhr;.  246. 

effect  of  the  tlrawing,  but  on  machine  drawings 
it  is  usual  to  put  the  center  lines  in  red,  using  a 
little  crimson  lake  for  the  purpose. 

Another  block  letter  is  shown  at  Fig.  246, 
which  is  easy  to  make  and  quite  effective.  This, 
and  the  three  following  examples,  are  taken 
from  "The  Draftsman,"  an  excellent  little 
journal  for  the  young  draftsman,  as  it  is  full  of 
useful  matter,  and  will  help  him  along  materially. 
The  journal  is  published  monthly,  in  Cleveland, 
Ohio,  and  only  costs  one  dollar  a  vear. 


AKClllTECTUHAK    DIt.vWI.NG    SKI.K  TAUGHT 


^24.» 


The  letters  shown  at  Fi|r.  247  have  some  pre- 
tentions to  ornamentation,  but  on  the  whole  they 
are  very  simple  and  easy  to  make. 

ji  B  G  D  E  F  G  |I  I J  K  L  M  N  0 
PQR8TUVWXYZ' 
1  2  345  6  7  B  9  D 

P'v^.  24-. 

Fig.  248  exhibits  a  sort  of  Runic  letter  that  is 
q  -irnamental  and  would  require  considerable 
Px    .      c  before  it  could  be  formed  nicely. 

BBc:s)B3r0Mir 


Fi-.  248 


The  letters  shown  at  Ficr.  249  are  good  old 
style  characters  and  are  always  in  order  for 
almost  any  kind  of  work. 


2Mi 


AUCHITKCTIH  .1,    DU.VWlXCi    SKLF  TAUGHT 


The  two  styles  of  >pcn  letters  shown  in  lig. 
250  may  sometimes  be  foimd  useful,  but  as  a  rule 
I  do  not  recommend  this  style  of  letter;  it  does 
not  "show  up"  enou,L,di  for  the  trouble;  at  the 
same  tim(;,  it  offers  excellent  practice  for  the 
draftsman. 

These  examples  are  quite  suffieient  for  my 
purpose,  but  the  student   will  do  well   to  try  his 

ABCDEFGHI 


JKLMNOPQ  R 
S  T  U  V  W  X  Y  Z 


■K-  -49 


hand  on  other  styles,  many  of  which  he  can  find 
in  public  prints,  headings,  and  other  places. 

While  I  do  not  advise  the  youny^  student  to 
attem|)t  the  colorin<^  of  drawin<^s,  yet,  if  he 
advances  himself  sufficiently  to  be  able  to  make 
a  goo<l  drawing,  there  is  no  reason  why  he 
should  not  attempt  to  color  some;  of  his  work, 
and  to  aid  him  in  doing  so  I  submit  for  his 
guidance  the  following  hints  and  ^:uggestions 
regarding  this  work.      The  fust  thing  to  do  when 


AHCIIITfXTUKAL    l)l{AU  ING    SKLF   TAUGI 


T  i47 


coloring    i  s    in 
tended  is  to  see 
that    the    |)apcr 
has  all  the  super- 
fluous sizing  re- 
moved by  being 
sponged    lightly 
with  clean  water. 
The    paper,  and 
everything 
about     it,    must 
be  kept  perfect- 
ly  clean.      Line 
off    the    spaces, 
with     very    fmc 
pencil    marks, 
that    are    to  be 
tinted.       Never 
use    the    eraser 
on  the   part    to 
be  tinted,  either 
before   or    after 
tinting.    Try  the 
tinting     process 
on    a    piece    of 
waste  paper  un- 
til   the     proper 


r' 


||f  i 

m     \ 

i^ 

lij 

r 

Ii 

t  \ 


448 


AUCmTKt TUUAL    DRAWING    SKLF   TAUGH '' 


PLATE    17. 

This  plate  shows  a  basement  window  in  a 
stone  wall,  the  elevation  showing  the  outside  of 
the  window,  and  the  section  exhibits  the  manner 
of  constructing^  the  frame  and  placing  the  sashes. 
This  is  drawn  to  a  scale  of  K  of  an  inch  to  the 
foot. 


^iiiF^i 


y^*»-*= 


^T?hLBA6tMEINT  Wmo?W 


Plate.17. 


l! 


Aiui.rrKm-nAi.  nnAWivo  .ki.f  tai  out        ^.>y 

tint  i.  obtained.  bcf<,rc  applying  to  the  cJravvinK^ 
Dark  tmts  are  formcl  [,y  applyinjr  a  number  of 
h^rht  ones  over   each    other,   but  a  second    tint 
should    not   be   appbed    until   the    f.rst   one    is 
perfectly  dry.    Always  finish  tintin,.  one  portion 
of  drawmR  before  h-avin.!,  it.     Otherwise  it  will 
be  cloudy.     See  that  the  pape.r  is  damp  before 
you    begin    to    tint.     Ink    in  all  lines  after  the 
t^mtinjr  ,s  complet(.l  and  the  (Jrawingis  perfectly 

The  colors  used  for  representing  wood.  iron, 
and  other  materials,  are  as    follows:     For  soft 
Pine,  a  v.ry  pale  tint  of  sienna;  for  hard  pine 
burnt  sienna  with  a  little  carmine  added;  for  oak' 
a  mixture  of  burnt  sienna  and  yellow  ochre  is 
used.     Mahogany  is  represented  by  burnt  sienna 
and  a  portion  of  dragons  blood.     For  walnut 
dragon's  blood  and  burnt  umber  are  used      For 
bncks.  burnt  sienna  and  carmine  make  a  good 
color.    Gray  stones  are  represented  by  a  mixture 
of  black  and  wh.te,  with  a  little   Prussian  blue 
and  .arminc  added-pale  ink  alone  is  sometimes 
used  for  stone  work.     Brown  freestone  is  rep- 
resented   Ly    burnt   sienna,   carmine,   and    ink. 
\Vrought  ,ron  is  represented  by  a  light  tint  of 
Prussian  blue,  and  cast  iron  by  a  gray  tint  com- 
posed of  black,  white,  and  a  little  indigo.     Brass 


'.X 

1 

1 

1 

1 

2'>() 


AUCHlTICTrUVI.  duawincj  hki.k  TvroiiT 


hm 


is  tinlctl  with  j^'amho^c.  (iamboijc,  slightly 
mixed  with  vermilion,  makes  a  good  color  for 
co[)per.  Silver  is  represented  by  an  almost 
invisible  blue. 

Many  draftsmen  have  a  natural  talent  for 
using  suitable  colors,  and  putting  them  on  in  a 
suitable  manner,  but  others  must  go  through  the 
drudgery  of  careful  practice  according  to  rule. 
A  perfectly  uniform  tint  such  as  tlesired  on  an 
engineer's  drawing  is  not  required  on  an 
architect's  drawing,  and  still  less  on  that  for  use 
by  a  builder;  but  unless  the  draftsman  learns 
first  to  lay  on  a  flat  and  uniform  wash  of  any 
tint,  he  is  not  likely  to  be  able  to  put  on  an 
appropriate  rough  tint.  For  water-color  sketch- 
ing a  flat  tile  with  shallow  recesses  is  suitable 
for  mixing  the  colors,  but  this  is  quite  unsuited 
for  a  draftsman's  use.  He  should  invariably  use 
the  nests  of  round  saucers  fitting  one  on  the 
other,  and  of  a  size  to  hold  as  much  color  as 
would  be  required  to  completely  finish  the  color- 
ing of  any  one  material  on  one  sheet.  The 
saucers  should  be  kept  covered  while  in  use, 
and  washed  out  when  done  with.  The  lightest 
tints  should,  as  a  rule,  be  put  on  first,  and  the 
brush  should  always  be  of  ample  size.  Color 
brushes     should    be    kept    scrupulously    clean, 


Aiiniirf;,Tim,i.  r.iiAwi.v,,  «ki,>  ihiciit        iii 

never  put  in  the  mouth,  always  washed  alu-r 
"sms,  the  surphis  moisture  shaken  out,  and  then 
put  away  in  the  box  and  not  laid  on  a  ,lusty 
shelf  to  dry.  ' 

A  little  practice  in  the  laying  of  colors  one 
ove,  -other  will  be  used  for  impressing  on  the 
me.  the  (,'eneral  effect  of  combination,  and 

^so  a  knowle,lge  of  the  primary  colors  an.l 
Ihe.r  secondaries.  Xearly  all  water-col,.,-,  are 
trans^paren.,an,l  a  n,e,lium  tint  of  anyone  color 
'f  la.d  over  another  after  it  is  dry.  will  allow  the 
first  color  to  show  through.  A  more  intimate 
combmatmn  may  be  made  by  mi.sing  the  colors 
.together  m  the  same  palette  ami  putting  then, 
on  with  the  brush  in  one  operation 

Wipe  the  brush  lightly  on  the  edge  of  the 
saucer  to  remove  the  surplus  color,  and  hold  it 
as  described   for  a  lead  pencil  when  about  to 
draw  a  vertical  line:  commence  at  the  top  left 
hand  of  the  space  to  be  colored;  pass  the  brush 
How.nwards,  then  along  the  top,  then  down  by 
short  strokes  from  the  top  to  the  length  of  the 
first  stroke  and  so  carry  the  color  downwards 
or    he  whole  width,  finishing  at    the   bottom 
right-iiand  corner. 

To  produce  good  and  uniform  coloring,  never 
damp  the  paper  before  commencing,   refill  the 


ii 


'252  AUClllTECTUllAL    DUAWIXO    SELF  TAVUilT 

brush  often,  ^^ently  wiping  it  on  the  edge  of  the 
saucer  each  time.  The  margin  of  the  color  must 
not  dry  before  the  next  stroke  reaches  it,  and  a 
part  once  colored  must  never  be  retouched, 
even  though  it  looks  uneven.  Retouching  is  a 
fruitful  source  of  failure;  for  color,  looking 
uneven  when  wet  may  dry  even,  but  if  touched 
again  when  partially  dried  it  is  certain  to  show 
uneven  when  dry. 

There  is  an  advantage  in    having  plenty  of 
color  in  the  brush,  but  when  nearing  the  bottom 
boundary  the  amount  must  be  reduced,  so  that 
there  is  not  a  pool  left  at  the  lower  corner.     By 
regulating  the  amount  of  color  any  slight  excess 
may  be   picked   up  with  the  brush    by  simply 
raising  it   slowly,   point   last,  from  the   corner. 
The  brush  should  not  be  wiped  in  any  way,  but 
simply  washed  in  clean  water,  when  done  with, 
or  before  use  with  another  color.     It  will  soon 
be  found  that  with  a  given  amount  of  color  in 
the  brush  more  or  less  of  it  may  be  left  behind 
as  the  brush  is  allowed  to  trail  or  is  used  side- 
ways, and  it  is  by  unconscious  adjustments  of 
this  kind  that  a  good  colorist  produces  uniform 

results. 

There  are  certain  tints  employed  by  architects 
to  designate  works  of  various  kinds,  and  I  give 


'fWivi^'v" 


ARCMITKCTUHAL    wI»AWI\G   SKLF   TAUGHT 


253 


them  herewith  so  that  the  student  may  have 
them  within  reach  if  he  has  occasion  for  their 
use.  It  must  be  understood,  however,  that 
nearly  every  drawing  ofifice  of  any  note  has 
rules  of  its  own  tor  marking  and  coloring 
drawings,  so  that  the  rules  given  herewith  may 
differ  materially  from  many  others  in  vogue. 

Banks  (Steep)— Shaded  with  graduated  warm 
sepia,  darkest  at  top  of  bank;  vertical  hill- 
shading  in  India  ink  or  dark  sepia. 

Brass— Gamboge  with  yellow  ochre  or  burnt 
sienna. 

Bricks  (Blue)— Elevation,  indigo  and  India 
ink;  section,  indigo.  (Red)— Elevation,  light  red 
(pale);  section,  India  red  (dark). 

Brickwork  (Xew) -Elevation,  Roman  ochre; 
section,  crimson  lake.  (Old)-Elevation,  India 
ink  (pale);  section,  India  ink  (dark). 

Buildings  (Brick  or  Stonej— Crimson  lake. 
(Wood)— Sepia. 

Cast  Iron— Payne's  grey;  neutral  tint. 

Chain— Elevation,  Prussian  blue  (dot  and 
stroke);    section,  no  color. 

Concrete— Sepia  with  black  marks;  or  indigo, 
or  Payne's  grey  with  black  marks  and  small 
light  spots  left. 

Copper— Gamboge      with      lake;      elevation, 


I?  t 


l-i 

|i| 


254 


AlUlllTECTUWAL    DIIAWING   SELF  TAUGHT 


crimson  lake  and  burnt  sienna;  section,  crimson 
lake  and  burnt  sienna  (dark). 

Earth— Burnt  umber  or  warm  sepia,  left 
jagged  at  edges;    or  sepia,  light  and  dark. 

I'Llectric-bell  Wires— Yellow. 

Fields  and  Vacant  Lands— White. 

Fir  and  Deal  (rough)— Elevation,  burnt  sienna 
or  gamboge;  section,  burnt  sienna  (edged  round 
and  hatched). 

Footpaths  (Flagged)— Yellow  ochre. 

G'_ss— Green;  Prussian  blue;  neutral  tint. 

Glass  Roofs  — Cross-hatching  of  Prussian 
blue. 

Granite — Purple  madder;  pale  India  ink. 

Greenheart— Elevation,  indigo  and  gamboge; 
section,  indigo  and  gamboge  (dark). 

Gun-metal— Elevation,  Indian  yellow;  section, 
Indian  yellow  (dark). 

Lead — Indigo;  indigo  with  India  ink. 

Leather— Elevation,  burnt  umber  (very  pahj, 
section,  burnt  umber  (dark). 

Mahogany— Elevation,  light  red  and  burnt 
sienna;  section,  light  red  and  burnt  sienna  (dark.) 

Meadows  and  Cultivated  Grass— Prussian 
green;  Hooker's  green. 

Oak — Elevation,  burnt  umber  (pale);  section, 
burnt  umber  (dark). 


s.?*^-*^'  -•.*-',■»••*'■*.  "w^- 


AHCHITECTUnAL    DRAWING    8KLF  lAUGIIT 


255 


Pine  and  Spruce  (v.rought)— Elevation,  burnt 
sienna  (pale);  section  burnt  sienna  (dark  rings). 

Pipes  (Cold-water)— Prussian  blue.  (Gas)— 
Indigo  with  lake.  (Hot-water)— Crimson  lake. 
(Rain-water)— Elevation,  Prussian  blue  (outline); 
section,  Prussian  blue  (outline).  (Soil)— Eleva- 
tion, burnt  sienna;  section,  burnt  sienna  (out- 
line). 

Plaster— Payne's -'rey.  Plaster  and  Cement-- 
Elevation,  India  ink  (pale);  section,  India  ink 
(dark). 

Railways— Neutral  tint  between  the  rails  of 
each  track. 

Rope— Elevation,  burnt  sienna  (dot  and 
stroke);  section,  no  color. 

Rosewood — Burnt  sienna  with  lake. 

Sewers  and  Drains — Prussian  blue. 

Skies  (in  perspectives)— Cobalt  blue. 

Slate— Elevation,  Payne's  grey;  section, 
Payne's  grey  (dark). 

Steel— Elevation,  violet  carmine  (very  pale); 
section,  violet  carmine  (dark);  or  indigo  with  a 
little  lake. 

Stone — Yellow  ochre;  gamboge  with  Indian 
red   and    burnt    umber;    sepia;    Prussian    blue. 

Representing  stone  in  section  by  Prussian  blue 
is    to    be    avoided,    though    in    common     use. 


I 
* 
■I 

i 


256 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE    1 8. 

This  plate  shows  two  elevations  and  sections 
of  windows,  one  designed  for  wooden  build- 
ings, and  the  other  for  brick  buildings.  The 
vertical  sections  of  frames  and  sashes  are  shown 
in  both  cases,  and  the  manner  of  constructing 
the  sills  is  given.  The  segmental  headed 
window  shows  finish  around  the  frame  suited  for 
brick.  Both  frames  show  exterior  finish,  and 
that  designed  for  wood  shows  the  lines  of 
siding  on  o"e  side.  These  examples  are  drawn 
to  a  scale  of  H  <^f  an  inch  to  the  foot. 


■'.35«:« 


•?^^(i^^M 


I 


LLLVATlJ 


•3ECTl?M9rwiND2WJ"^  W-»-°D  ^i.^jsMt  BUILDINGS 


V   M 


^w^r 


ARC  .nXKCTURAL    DnAWIXO    SELF  TAUGHT  io7 

Pruss,:an   blue  should    be  retained  entirely  for 
wrought-iron  work. 

Stone     Dressings— Elevation,     French     blue 
(very  pale);    section.   French  blue  (dark). 
Streets  (Paved)— Neutral  tint. 
Timber     (Existing)  —  Elevation,     India     ink 
(pale);    section,   India  ink  (etched). 
Tubes  (Speaking)— Green, 
Water— Elevation,    Prussian    blue    (washed); 
section,  Prussian  blue  (lines).     Water  may  have 
graduated  blue  edges. 

Windows  Inside— Elevation,  French  blue 
(pale);  section.  Hooker's  green.  No.  2  (dark). 

Windows  Outside— Elevation,  Payne's  grey 
(dark);  section.  Hooker's  green,  No.  2  (dark). 

Wrought-iron  (Bright)— Elevation,  Prussian 
blue  (very  pale);  section,  Prussian  blue  (dark). 
(Rough)— Payne's  grey. 

York  and  Soft  Stone— Elevation,  sepia  (very 
pale);  section,  sepia. 

Zinc— Elevation,  French  blue  (very  pale); 
section.  French  blue  (dark). 

Often  various  materials  are  shown  by  the 
manner  in  which  the  sections  of  such  materials 
are  hatched  or  lined  off  as  may  be  seen  by  the 
illustration  shown  at  Fig.  251,  where  a  large 
number  of  sections  are  given.     By  this  method 


I  i 
i  i 

i  I 


I-'  » 

4 


I 

ii 

i 


If 
if 


258         AiKiriTF.cTunAL  nnAWiNO  self  taught 

the  material  is  reco}|nizccI  by  the  method  of 
hatching,  and  no  color  is  required,  the  whole 
being  done  in  black  and  white. 

It  may  be  necessary  sometimes  for  the  drafts- 
man to  shade  portions  of  his  work,  and,  though 
this  book  does  not    pretend  to  deal   with    the 


fig  151. 

higher  class  of  tlrawing,  it  ma}-  not  be  out  of 
place  to  say  a  few  words  on  shading,  and  offer  a 
few  rough  illustrations,  showing  how  some 
objects  may  be  shaded  even  by  an  inexperienced 
hand.  The  principles  of  shading  are  very 
simple,  but  do  not  seem  to  be  generally  under- 
stood, even  by  architects.  All  the  exhibition 
drawings  of  an  Architectural  Association  were 


^WflS^ 


AIlClIITECnrRAK  DllAWTXO   SEU"  TAIGHT 


259 


spoilt  one  year  by  the  roof  shading  being 
reversed,  presumably  in  order  to  comply  with 
some  fancied  natural  requirement.  The  prin- 
ciples are  as  follows:  (i)  The  more  distant  the 
object   the   less   distinct    the   light   and    shade, 


and  vice  versa;  {2)  for  the  sake  of  uniformity 
the  light  is  usually  supposed  to  come  from  the 
left,  and  on  a  drawing  is  generally  taken  as 
coming  down  the  long  side  of  a  45  set  square, 
when  one  edge  is  placed  diagonally  on  the  paper 
and  at  right  angles  to  it;  (3)  on  inclined  surface 
in  the  light  the  farthest  part  is  the  darkest  and 
in  the  shade  the  nearest  part  is  the  darkest;  (4) 
cylindrical  surfaces  follow  the  same  rules,  but 
on  the  right  hand  or  low-  r  sides  the  effect 
appears  as  though  some  reflected  light  were 
shown   towards   the   edge.     The  accompanying 


Iff 
M 


i 


:4l 


>i(iM 


A»tflITF(  TUnVL    DUAWIXO   SELF  TAVOUT 


illuy  rations,  l-'ig.  252,  show  the  appUcation  of 
; '  es'   rules. 

W  len  ink  Hnes  to  any  considerable  extent 
li.vv  :  10  be  erased,  a  small  pieat  of  lamped  soft 
^ police  hk:.  t)e  rubbed  over  uiem  till  they 
.ii-,.^Pi  '^^.r.  As,  however,  this  process  is  apt  to 
disc  "lo'  the  paper,  the  spc>ny:e  must  be  passed 
tliroUK^  'jlean  water,  and  applied  again  to  take 
up  the  straggling  ink.  For  small  erasures  of  ink 
lines,  a  sharp  erasing  knife  should  be  used;  thi-^ 
is  an  instrument  with  a  short  triangular  bla('e 
fastened  to  a  wooden  or  ivory  handle.  A  sharp 
rounded  pen-blade  applied  lightly  and  rapidly 
does  well,  and  the  surface  may  be  smoothed 
down  by  the  thumb  nail  or  a  paper-knife  handle. 
In  ordinary  working  drawings  a  line  may  readily 
be  taken  out  by  damping  it  with  a  lair  pencil 
and  quickly  applying  the  india  ubber;  and,  to 
smooth  the  surface  so  roughenec!  alight  applica- 
tion of  the  knife  is  expedient.  In  drawing's 
intended  to  be  highly  fmished,  particular  pains 
should  be  taken  to  avoid  the  necessity  for 
corrections,  as  ev(;rything  of  thi  kind  detracts 
from  the  appearance. 

A  little  Prus^  m  blue,  mixed  with  the  ink 
makes  it  flow  frrcr  and  adds  to  the  c-lor.  In 
inking  in  on  ordinary  tracing  ch     .,  ^he  f.tudent 


AHciiiTM  Trn.vi.  ii«i.\\»i\«j  Hy.i.i  T.\r(iiiT 


4(51 


will  find  the  ink  will  "creci. "  in  such  a  manner 
that  the  lines  will  be  broken.  This  can  be  pre- 
vented if  a  drop  of  ox  i^iiH  be  mixed  with  the 
ink,  but  where  ox-^jall  is  not  available,  Prussian 
blue  may  be  substituted,  and  this  will,  ti.  some 
extent,  work  freer  over  th<  cloth. 

As  thi^  book  is  not  intended  for  making 
finished  (.raftsn  n,  I  have  u.oided  in  11  cases— 
except  in  the  rders  of  Architecture — offer- 
ing any  very  elaborate*  or  'inishei.  examples, 
as  the  student  can  find  a  nuinJjer  of  \  rks  in  th( 
market  that  will  lead  him  to  a  higher  ulan*'  if  he 
so  determines,  afte,  he  h  s  well  mast  -d  what 
I  have  served  up  to  h  fi.  Xeith«  have  I 
thougiit  it  desirable  lo  desc  'le  the  method  of 
making  blue  prints,  ;  >  this  n  hod,  or  irethods, 
1  IS  been  rendered  o^  an»  )ver  again  in  th« 
technical  joui  lals,  yea  s  past.     If,  however, 

the  stut^ient  de^ire-  .o  learn  how  to  make  blue 
prints,  I  Would  id  ise  him  to  purchase  a  copy 
of  "Blue  Print  I.iaKing"  by  P.  Reissmann,  which 
can  bf  ha  i  ;  rom  th»-  publishers  of  this  book, 
price  2S  cents  ihis  is  in  excellent  little  work, 
and  goes  iiito  th(     ubject  thoroughK  . 

It  must  be    in  .ersiood   that   this  work  is  pre- 

ired   purposely    ^r  the  workman  who  has  no 

time  to    ittend  ni.  ht  srhool,  or  money  to  spare 


■rSii' 


262 


ARCHITEfTrRAL    DRAWIXG   SELF  TAUGHT 


to  take  a  course  in  any  one  of  the  excellent 
correspondence  schools;  therefore,  the  illustra- 
tions have  been  left  in  a  plain  state,  so  that  the 
student  would  not  be  frightened  on  the  threshold 
of  his  work  by  fancy  and  elaborate  drawings.  I 
state  this  fact,  partly  to  make  it  easy  for  the 
student,  and  partly  to  disarm  critics,  who  can,  if 
they  are  so  disposed,  find  many  defects  in  the 
illustrations. 


FINIS 


HOUSE    PLAN   SUPPLEMENT 


PERSPECTIVE     VIEWS 
AND    FLOOR     PLANS 


OF 


Twenty-five    Low  and 
Medium  Priced  Houses 


Full  and  Complete  Working  Flans  and  Specifications  or  any  of 
these  houses  will  be  m.led  at  the  low  prices  named,  on  the  same 
aay_  the  order  is  received. 


OTHER     PLANS 

We  illustrate  in  "Practical  Uses  of  the  Steel  Square  -  Vol  I- 
"Practical  Uses  of  the  Steel  Square,"  Vol.  II;  and  "Modern 
Carpentry,  75  other  plans,  2,-  in  each  book,  none  of  which  are 
duplicates  of  those  we  illustrate  herein. 

For  further  information,  address 

The  Publishers. 


fi-tid  All  Orders  for  Plans  to 


Frederick  J.Drake  ©  Co. 

2n-2l3  EAST  MADISON  ST..  CHICAGO 


jl 
^  i 
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it 

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25-HOUSE  DESIGNS~25 


~VT7"ITHOUT  extra  cost   to    our    readers   we  have   added  to 
^  *  Common-Sense    Handrailing  and    Stair  Building    the 

perspective  view  and  floor  plans  of  twenty-five  low  and 
medium  priced  houses,  such  as  are  being  built  by  90  per  cent  of 
the  home  builders  of  to-day.  We  have  given  the  sizes  of  the 
houses,  the  cost  of  the  plans  and  the  estimated  cost  of  the  build 
ings  based  on  favorable  conditions  and  exclusive  of  phmibing 
and  heating. 

The  extremely  low  prices  at  which  we  will  sell  these  complete 
working  plans  and  specifications  makes  it  possible  for  everyone 
to  have  a  sei  to  be  used,  not  only  as  a  guide  when  building,  but 
also  as  a  con\enience  in  getting  bids  on  the  various  kinds  of  work. 
They  can  be  made  the  basis  of  contract  between  the  contractor 
andthe  home  builder.  They  will  save  mistakes  which  cost  money, 
and  they  will  prevent  disputes,  which  are  never  settled  satisfac- 
torily to  both  parties.  They  will  save  money  for  the  contractor, 
because  then  it  will  not  be  necessary  for  the  workmen  to  lose  time 
waiting  for  instructions.  We  are  able  to  furnish  these  complete 
plans  at  these  prices  because  we  sell  so  many  and  they  are  now 
used  in  every  known  country  of  the  world  where  frame  houses  are 
built.  The  regalar  price  of  these  plans,  when  ordered  in  the  usual 
manner,  is  from  $50.00  to  875.00  per  set,  while  our  charge  is  but 
8500,  at  the  same  time  furnishing  them  to  you  more  complete  and 
better  bound. 


II 


Of  What  Our  Plans  Consist 

ALL  OF  OUR  PLAN'S  are  accurately  drawn  one-cjuarter  inch 
scale  to  the  foot. 
We  use  only  the  best  quality  heavy  r.allia  Hiiie  Print  Paper 
No.  lOOOX,  akin«    every  precaution  to  have  all  the  blue  prints  of 
even  color  and  every  line  and  t';j,'ure  perfect  and  distinct. 
We  furnish  for  a  complete  set  of  plans  : 


FRONT  ELEVATION 
REAR  ELEVATION  • 
LEFT  ELEVATION 
RIGHT  ELEVATION 


ALL  FLOOR  PLANS 

CELLAR  AND  FOUNDATION  PLANS 

ALL  NECESSARY  INTERIOR  DETAILS 


Specifications  consist  of  fifteen  to  twenty  pajjesof  typewritten 
matter,  giving  full  instructions  for  carrying  out  the  work. 

Both  the  plans  and  specifications  are  bound  in  cioth  and 
heavy  waterproof  paper  in  an  artistic  and  suh.-t.uitial  manner. 

We  guarantee  all  plans  and  sjjccificat^.ns  to  be  full,  com- 
plete and  accurate  in  every  particular.  F.very  plan  being 
designed  and  drawn  by  a  licensed  architect. 

Our  equipment  is  so  complete  that  we  can  mail  t(>  you  the 
same  day  the  order  is  received,  a  comnlete  set  of  plans  and 
specifications  of  any  house  illustrated  herein. 

Our  large  sales  of  these  plans  demonstrates  to  us  the  wisdom 
of  making  these  very  low  prices. 


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Remember 

Wc-  can  mail  out  the  same  day  we  receive  the  order 
any  cmiplete  set  of  .Diking  phins  and  specifications 
we  illustrate  in  this  book. 

Remember  also 

That,  if    you    are    going   to   build,  complete  working 
plans  and  specifications  always 

Save  Money 


for  both  the  owner  and  contractor. 

They  prevent  mistakes  and   disputes. 
They  save  time  and   n-.oney. 

Thev    tell    %ou    what  you  will    get    and  what    you 
are  to  do. 


S4 


Estimated   Cost 


It  is  impossible  for  any  one  to  estimate  the  cost  of  a 
building  and  have  the  figures  hold  good  in  all  sections 
of  the  countr\'. 

We  do  not  claim  to  be  able  to  do  it. 

The  estimated  cost  of  the  houses  wi-  illustrate  is 
based  on  the  most  favoraijle  conditions  in  all  respt-cts 
and  does  not  include  Plumbing  and  Heating. 

Possibly  thesi'  houses  cannot  be  Ijuilt  in-  >ou  at  the 
prices  we  name  Ijccause  we  ha\e  used  minimum  mate-rial 
and  labor  prices  as  our  basis. 

Tlu'  home  l)uilder  shouU  consult  tlie  Lumber 
Dealei.the  Hardware  Dealer,  and  the  Reliable  Con- 
tractors of  his  town.  Their  knowledge  of  conditions 
in  your  particular  locality  makes  them,  .nd  them  only, 
capable  of  making  \ou  a  correct  estimate  of  the  cost. 


«5 


DRAWING  OUTFITS  for  STUDENTS 

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INSTKt'.MK.NT.S 

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111.:  extra  st,-el  divider  poim 
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Jpl.OO 

V:uU No. -'1.^1, s.     Mardwnd. 

-^o.-ir, 

Sundries 


Fred  T.  Hodgson's  New  (1903)  Books  For  Buildera 

STEEL  SQUAR.E 

A  TREATISE  OF  THE  PRAOTiOAl  USES  OF 

By  FRED.  T.  HODGSON.  Jkrchitect. 

Now  ami  up-to^.te.    Published   May    Isf.    1903.    Do  not  mistake  this  edition 
lor  ttie  one  published  over  20  years  ago. 

ThiMi.- the  latest  practiical  work  on 
41?  ^  T  "<J"»'f  ""d  its  u.fes  pnly 
iHlica.  It  iHthorouRh,  af^'unttf,  clear 
and  .asi  y  unci,  rstood.  Confoundinif 
tf  rni.s  and  phrases  have  bten  relig. 
lou.sly  avoidedwhere  possible, 
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inade  so  plain  that  a  bf)y  twelve  years 
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nine  t<j  end. 

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80ni«»  very  incenioiiH  devices  for  laying 
out  levels  for  rafters,  braces  and  oth-^r 
inclined  work;  alMo  chapters  on  the 
Square  as  a  calculating  machine,  show- 
ing how  to  mea.sure  Solids,  Surfaces 
and  DistBTK-es— very  useful  to  builders 
and  estimators.  (Chapters  on  rcflng 
and  how  to  form  them  by  the  aid  o)* 
the  Square.  Octagon,  Hexagon,  Hii) 
and  other  roofs  are  shcA-n  and  ex- 
plained, ard  the  manner  of  getting 
the  rafter-,  and  Jacks  given.  Chajiters 
on  heavy  timl>er  framing,  shr  wing  hew 
the  8<iuare  is  used  for  layint"  out  Mor 
Msps,   Tenons,   Shoulders,   Inclin(><J 

work^  The  work  ako  contains  a  largTm.^b.^r"o^]''di»g4ms!  sho^fin'HJ."vJ 
the  Spuaro  may  be  used  in  flndinK  R-vels,  Angles,  Stair  Treads  and  he  v«l 

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